Par Julie Assouly et Claire Dutriaux
Livraison en lettre suivie
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Traitant d’un des sujets 2026 de civilisation pour les agrégations externe, interne et spéciale d’Anglais, cet ouvrage propose tout ce dont le candidat a besoin pour passer les épreuves.
Comme tous les Clefs-concours Anglais-civilisation, l’ouvrage est structuré en cinq parties :
- Introduction ;
- Historiographie ;
- Repères sur le contexte historique et culturel ;
- Thèmes qui structurent le sujet ;
- Outils (documents, sources, bibliographie, chronologie, personnages, glossaire, index).
Fiche technique
Historiography of the Hollywood Left............................................... 16
The liberal left, constitutionalist approach.............................................. 16
Progressive-left and “Cultural Front” approaches................................. 18
Conservative revisionist approaches........................................................ 19
Industrial and labor approaches................................................................. 21
Historiography of the blacklist............................................................. 22
From Technology to Business: Early Cinema, Left-Wing Ideas, and Union Movements Before 1933........................................................ 29
From early cinema to Hollywood: organizing business....................... 29
Hollywood workers’ rights: organizing protests.................................... 31
Early activist films and documentaries.................................................... 32
The Rise of the Hollywood Studio System and Its Politicization:
Pre-WWII America: left-wing parties and ideologies.......................... 39
Censorship:
Protecting the Industry Morally and Economically..................... 44
From the start of motion picture censorship to the First Red Scare (1907-1920) 44
Early silent films, progressive reform, and scandal in Hollywood....... 46
Protecting the industry morally and economically................................ 47
Exporting Hollywood, from Hays to Johnston...................................... 49
Hollywood Studios:
Negotiating the Great Depression and the New Deal..................... 51
Facing the Great Depression...................................................................... 51
The studio system in the 1930s................................................................. 54
The studios and the New Deal.................................................................. 57
The Wagner Act as a game changer......................................................... 61
IATSE, a controversial union.................................................................... 67
IATSE, CSU, and the Hollywood Black Friday (October 5, 1945) .69
WHO WERE THE HOLLYWOOD LEFTISTS,
Socialists, and Communists?..................................................................... 72
Hollywood and the Popular Front: “Prematurely anti-fascist”........... 72
The Hollywood Left, from grassroots engagement to
the Motion Picture Democratic Committee (1938-1939).................... 73
the Hollywood Democratic Committee (1943-1950)........................... 76
Anticommunism in the Hollywood Industry From 1937 to 1944..... 78
Social problem films and the targeting
of the Federal Theater Project (1937-1939)........................................... 78
Hooverism – not McCarthyism................................................................. 80
The Dies investigations of Hollywood.................................................... 82
Patriotism and propaganda during WWII............................................... 85
The FBI investigations into Hollywood – COMPIC (1942-1944).... 90
The creation of the Motion Picture Alliance
for the Preservation of American Ideals(MPAPAI).............................. 92
THE 1947 HUAC HEARINGS.......................................................................... 96
The preparations for the HUAC hearings of 1947................................ 96
The Position of the AMPP/MPAA......................................................... 103
The Aftermath of the 1947 Hearings.................................................. 110
The second round (1951-1953)............................................................... 111
Industry cooperation and red-baiting..................................................... 113
Resistance of Unfriendly Witnesses.................................................... 119
The politics of the Hollywood Ten........................................................ 119
The hearings as a platform for resistance............................................. 122
The films of the Hollywood Ten............................................................ 123
Resisting in 1947 and beyond................................................................. 124
Writing on the black market.................................................................... 126
“Only Victims?”: Friendly Witnesses................................................... 129
Motivation and moral ambiguity............................................................ 131
The Motion Picture Industry Council:
Ronald Reagan and Cecil B. DeMille.................................................... 133
Propaganda and the shadow of the State............................................... 136
The Erosion of the Blacklist................................................................ 138
Left-Wing Ideas in the Cinema of the 1930s and 1940s:
From Socially Committed to Radical Films...................................... 145
Depression-era dramas, social comedies,
and populist films of the 1930s and 1940s........................................... 145
Julie Assouly est maîtresse de conférences habilitée à diriger des recherches en civilisation des Etats-Unis, à l’Université d’Artois.
Claire Dutriaux est ancienne élève de l’ENS Paris-Saclay, agrégée d’Anglais, maîtresse de conférences en Histoire et Culture des États-Unis à Sorbonne Université.
Par Julie Assouly et Claire Dutriaux
