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{{Short description|Mid-20th century banning of suspected Communists from U.S. entertainment}}
{{About|20th-century political blacklists|21st-century lists of screenplays|Black List (survey)}}
[[File:H10Protest.gif|thumb|right|upright=1.6|Members of the Hollywood Ten and their families in 1950, protesting the impending incarceration of the Ten]]

The '''Hollywood blacklist''' refers to the mid-20th century banning of suspected Communists from working in the United States entertainment industry. The [[blacklisting|blacklist]] began at the onset of the [[Cold War]] and [[Red Scare#Second Red Scare (1947–1957)|Red Scare]], 
and affected entertainment production in [[Hollywood, Los Angeles|Hollywood]], [[New York City|New York]], and elsewhere. [[Actor]]s, [[screenwriter]]s, [[film director|director]]s, [[film score|musician]]s, and other professionals were barred from employment based on their present or past membership in, alleged membership in, or perceived sympathy with the [[Communist Party USA]] (CPUSA), or on the basis of their refusal to assist Congressional or [[FBI]] investigations into the Party's activities.

Even during the period of its strictest enforcement from the late 1940s to late 1950s, the blacklist was rarely made explicit nor was it easily verifiable. Instead, it was the result of numerous individual decisions implemented by studio executives and was not the result of formal legal statute. Nevertheless, the blacklist directly damaged or ended the careers and incomes of scores of persons working in film, television, and radio.

Although the blacklist had no official end date, it was generally recognized to have weakened by 1960, the year when [[Dalton Trumbo]]{{snd}}a CPUSA member from 1943 to 1948<ref name=Trumbo_obit>{{cite news |title=Dalton Trumbo, Film Writer, Dies. Oscar Winner Had Been Blacklisted |url=https://www.nytimes.com/1976/09/11/archives/dalton-trumbo-film-writer-dies-oscar-winner-had-been-blacklisted.html|newspaper=The New York Times |date=September 11, 1976 |first=Jon | last=Nordheimer}}</ref> and one of the "Hollywood Ten"{{snd}}was openly hired by director [[Otto Preminger]] to write the screenplay for ''[[Exodus (1960 film)|Exodus]]'' (1960).<ref name=Trumbo_obit/> Several months later, actor [[Kirk Douglas]] publicly acknowledged that Trumbo wrote the screenplay for ''[[Spartacus (film)|Spartacus]]'' (1960).<ref>[https://www.telegraph.co.uk/culture/film/film-life/9515653/Kirk-Douglas-My-Spartacus-broke-all-the-rules.html Kirk Douglas, "My Spartacus Broke All the Rules"] {{Webarchive|url=https://web.archive.org/web/20151110122041/http://www.telegraph.co.uk/culture/film/film-life/9515653/Kirk-Douglas-My-Spartacus-broke-all-the-rules.html |date=2015-11-10 }}, ''The Daily Telegraph''</ref> Despite Trumbo's breakthrough in 1960, other blacklisted film artists continued to have difficulty obtaining work for years afterward.

== Initial blacklist of the Hollywood Ten ==
{{redirect|Hollywood Ten|the eponymous documentary|The Hollywood Ten}}
The first systematic Hollywood blacklist was instituted on November 25, 1947, the day after ten [[Left-wing politics|left-wing]] screenwriters and directors were cited for [[contempt of Congress]] for refusing to answer questions before the [[House Un-American Activities Committee]] (HUAC). The ten men had been subpoenaed by the committee in late September to testify about their Communist affiliations and associates.<ref>{{Cite book|title=Hollywood Exile, or How I Learned to Love the Blacklist |last=Gordon |first=Bernard |publisher=University of Texas Press |year=1999 |isbn=0292728271 |location=Austin, TX|pages=ix}}</ref> The contempt citation included a criminal charge, which led to a highly publicized trial and an eventual conviction with a maximum of one year in jail in addition to a $1,000 fine (${{Inflation|US|1000|1948|fmt=c|r=-2}} today).<ref name=":0">{{Cite book|title=Sex and Violence: The Hollywood Censorship Wars |last=Pollard |first=Tom |publisher=Routledge |year=2015 |isbn=9781594516351 |location=Oxon |page=95}}</ref>

The Congressional action prompted a group of studio executives, acting under the aegis of the [[Association of Motion Picture Producers]], to suspend without pay these ten film artists - the "Hollywood Ten" - and to pledge that "thereafter no Communists or other subversives would 'knowingly' be employed in Hollywood."<ref>{{cite book |title=Naming Names |last=Navasky |first=Victor S. |publisher=Viking |location=New York |year=1980 |page=83 |isbn=0670503932}}</ref>

It wasn't long before the list of ten grew into the hundreds. On June 22, 1950, a pamphlet-style book entitled ''[[Red Channels]]'' was published. Focused on the field of broadcasting, it identified 151 entertainment industry professionals as "Red Fascists and their sympathizers" who had infiltrated radio and television.<ref>{{cite book |title=Red Channels: The Report of Communist Influence in Radio and Television |publisher=Counterattack |location=New York |year=1950 |page=6 |url=https://babel.hathitrust.org/cgi/pt?id=uc1.31822043022086&seq=16}}</ref><ref>{{cite magazine |title=Red Smears: A Legacy |date=December 11, 2012 |url=https://www.printmag.com/daily-heller/red-smears-a-legacy/ |magazine=PRINT}}</ref> Soon, most of those named, along with a host of other artists, were barred from employment in the entertainment field.

==History==

===Background===
The Hollywood blacklist was rooted in events of the 1930s and early 1940s, encompassing the depths of the [[Great Depression in the United States|Great Depression]], the [[Spanish Civil War]], and the U.S.-Soviet alliance in [[World War II]]. The widespread economic hardships in the 1930s, as well as the rise of fascism in the world, caused a surge in [[Communist Party USA]] (CPUSA) membership. Levels had remained below 20,000 until 1933 and then steadily grew during the decade until reaching 66,000 in 1939.<ref name=CPUSA_membership>{{cite web |title=Communist Party Membership by Districts 1922–1950 |publisher=Civil Rights and Labor History Consortium, University of Washington |last=Gregory |first=James |date=2006 |url=https://depts.washington.edu/moves/CP_map-members.shtml}}</ref> Although the CPUSA lost substantial support after the [[Moscow trials|Moscow show trials]] of 1936–1938 and the [[Molotov–Ribbentrop Pact]] of 1939, the organization's membership was still well above its pre-1933 levels.

With this as a backdrop, the U.S. government began turning its attention to possible links between the CPUSA and Hollywood. Under then-chairman [[Martin Dies, Jr.]], the HUAC released a report in 1938 claiming that [[communism]] was pervasive in the movie industry. Two years later, Dies privately took testimony from a former Communist Party member, John L. Leech, who named forty-two movie professionals as Communists. After Leech repeated his charges in supposed confidence to a Los Angeles grand jury, many of the names were leaked to the press, including those of stars [[Humphrey Bogart]], [[James Cagney]], [[Katharine Hepburn]], [[Melvyn Douglas]] and [[Fredric March]], among other Hollywood figures. Dies said he would "clear" those who cooperated by meeting with him in what he called "executive session". Within two weeks of the grand jury leak, all those on the list except for actress [[Jean Muir (actress)|Jean Muir]] had met with the HUAC chairman. Dies "cleared" everyone except actor [[Lionel Stander]], who was fired by the movie studio, [[Republic Pictures]], where he was under contract.<ref>{{cite book |url=https://archive.org/details/bub_gb_HvC3WaGZF3UC/page/157/mode/2up |title=The Inquisition in Hollywood: Politics in the Film Community 1930–1960|pages=156–157|publisher=University of California Press|year=1983|first1=Larry|last1=Ceplair|first2=Steven|last2=Englund|isbn=978-0520048867}}</ref>

Two major [[Cinema of the United States|film industry]] strikes during the 1930s had exacerbated tensions between [[AMPTP|Hollywood producers]] and unionized employees, particularly the [[Screen Writers Guild]], which formed in 1933.<ref>Murphy (2003), p. 16.</ref> In 1941, producer [[Walt Disney]] took out an ad in ''[[Variety (magazine)|Variety]]'', the industry trade magazine, declaring his conviction that "Communist agitation" was behind a [[Disney animators' strike|cartoonists and animators' strike]]. According to historians Larry Ceplair and Steven Englund, "In actuality, the strike had resulted from Disney's overbearing paternalism, high-handedness, and insensitivity."{{sfn|Ceplair|Englund|1983|pp=157–158}} Inspired by Disney, California State Senator [[Jack Tenney (politician)|Jack Tenney]], chairman of the state legislature's [[California Senate Factfinding Subcommittee on Un-American Activities|Joint Fact-Finding Committee on Un-American Activities]], launched an investigation of "Reds in movies". The probe fell flat, and was mocked in ''Variety'' headlines.{{sfn|Ceplair|Englund|1983|pp=157–158}}

The wartime alliance between the United States and the [[Soviet Union]] brought the CPUSA newfound credibility. During the war, Party membership climbed back up to 50,000.<ref>Johnpoll (1994), p. xv.</ref> As World War II drew to a close, however, perceptions changed again, with communism increasingly becoming a focus of American fears and hatred. In 1945, [[Gerald L. K. Smith]], founder of the [[neofascist]] [[America First Party (1944)|America First Party]], began giving speeches in [[Los Angeles]] assailing the "alien minded Russian Jews in Hollywood."{{sfn|Horne|2006|p=174}} [[Mississippi]] congressman [[John E. Rankin]], an HUAC member, held a press conference to declare that "one of the most dangerous plots ever instigated for the overthrow of this Government has its headquarters in Hollywood ... the greatest hotbed of subversive activities in the United States." Rankin promised, "We're on the trail of the tarantula now, and we're going to follow through."<ref>Murphy (2003), p. 17.</ref><ref name=Truthdig_article>{{cite web |title=Remembering the Hollywood 10 |url=https://www.truthdig.com/articles/remembering-the-hollywood-10/ |date=9 October 2007 |website=Truthdig}}</ref>

Reports of Soviet repression in Eastern and Central Europe in the war's aftermath added more fuel to what became known as the "[[Second Red Scare]]". The growth of conservative political influence and the [[Republican Party (United States)|Republican]] triumph in the 1946 [[Midterm election|midterm elections]], which saw the [[GOP]] take control of both the [[United States House election, 1946|House]] and [[United States Senate election, 1946|Senate]], led to a major revival of institutional anti-communist activity, publicly spearheaded by the HUAC but with an investigative push by [[J. Edgar Hoover]] and the [[Federal Bureau of Investigation|FBI]].<ref name=Truthdig_article/> The following year, the [[Motion Picture Alliance for the Preservation of American Ideals]] (MPA), a political action group co-founded by Walt Disney, issued a pamphlet written by [[Ayn Rand]] and entitled "Screen Guide for Americans".<ref>{{cite web |title=Screen Guide for Americans |url=https://archive.lib.msu.edu/DMC/AmRad/screenguideamericans.pdf |year=1947 |publisher=The Motion Picture Alliance for the Preservation of American Ideals |location=Beverly Hills, CA |via=Michigan State University Libraries}}</ref> It advised film producers on the avoidance of "subtle communistic touches" in their films. The pamphlet's advice was encapsulated in a list of ideological prohibitions, such as "Don't Smear the Free Enterprise System", "Don't Smear Industrialists", "Don't Smear Wealth", "Don't Smear the Profit Motive", "Don't Deify 'the Common Man'", and "Don't Glorify the Collective."<ref>{{cite book |last=Cohen |first=Karl F. |year=2004 |orig-date=1997 |title=Forbidden Animation: Censored Cartoons and Blacklisted Animators in America |location=Jefferson, N.C. |publisher=McFarland |pages=169–170 |isbn=0-7864-0395-0}}</ref>

===Beginning (1946–1947)===<!-- This section is linked from [[McCarthyism]] -->
On July 29, 1946, [[William Wilkerson|William R. Wilkerson]], publisher and founder of ''[[The Hollywood Reporter]]'' (THR), titled his front-page "Tradeviews" column, "A Vote for [[Joseph Stalin|Joe Stalin]]".<ref>{{cite news |last=Wilkerson |first=William |author-link=William Wilkerson |date=1946-07-29 |title=A Vote for Joe Stalin |periodical=The Hollywood Reporter |page=1 }}</ref> In the column, Wilkerson named as Communist sympathizers [[Dalton Trumbo]], [[Maurice Rapf]], [[Lester Cole]], [[Howard E. Koch|Howard Koch]], Harold Buchman, [[John Wexley]], [[Ring Lardner Jr.]], [[Harold Salemson]], Henry Meyers, Theodore Strauss, and [[John Howard Lawson]]. Over the next two months, Wilkerson published more columns containing names of other suspected Communists and "[[fellow travellers|fellow travelers]]" working in Hollywood. His daily column came to be known as "Billy's List" or "Billy's Blacklist".<ref name="Baum">{{cite news |last1=Baum |first1=Gary |last2=Miller |first2=Daniel |title=The Hollywood Reporter, After 65 Years, Addresses Role in Blacklist |date=November 19, 2012 |newspaper=The Hollywood Reporter |url=https://www.hollywoodreporter.com/tv/tv-features/blacklist-thr-addresses-role-65-391931/ |access-date=20 November 2012 |archive-date=6 August 2015 |archive-url=https://web.archive.org/web/20150806111448/http://www.hollywoodreporter.com/news/blacklist-thr-addresses-role-65-391931 |url-status=live }}</ref><ref>{{cite web |url=http://www.coldwarla.com/the-hollywood-blacklist.html |website=Cold War: L.A. |title=The 'Hollywood' Blacklist |archive-date=24 September 2014 |archive-url=https://web.archive.org/web/20140924142040/http://www.coldwarla.com/the-hollywood-blacklist.html}}</ref> When Wilkerson died in 1962, his ''THR'' obituary stated that he had "named names, pseudonyms and card numbers and was widely credited with being chiefly responsible for preventing communists from becoming entrenched in Hollywood production – something that foreign film unions have been unable to do."<ref name="Baum"/> In a 65th-anniversary article in 2012, Wilkerson's son apologized for ''THR'''s role in the blacklist and added that his father was motivated by revenge for his own thwarted ambition to own a film studio.<ref name="Wilkerson III">{{cite news|url=https://www.hollywoodreporter.com/news/general-news/blacklist-billy-wilkersons-son-apologizes-391977/|title=An Apology: The Son of THR Founder Billy Wilkerson on the Publication's Dark Past|last=Wilkerson III|first=W. R.|date=November 19, 2012|newspaper=The Hollywood Reporter|access-date=November 20, 2012|archive-date=December 14, 2017|archive-url=https://web.archive.org/web/20171214071908/https://www.hollywoodreporter.com/news/blacklist-billy-wilkersons-son-apologizes-391977|url-status=live}}</ref>

In late September 1947, drawing upon the lists provided in ''The Hollywood Reporter'', the House Un-American Activities Committee subpoenaed a number of persons working in the film industry to testify at hearings. The HUAC had declared its intention to investigate whether Communist agents had been planting propaganda in American films.<ref name="Baum"/><ref>See, e.g., {{cite web|author=Schwartz, Richard A.|url=http://comptalk.fiu.edu/blacklist.htm|title=How the Film and Television Blacklists Worked|year=1999|access-date=2010-03-03|publisher=Florida International University|archive-date=2011-07-19|archive-url=https://web.archive.org/web/20110719193328/http://comptalk.fiu.edu/blacklist.htm|url-status=dead}}</ref>

The hearings began with appearances by "friendly witnesses" such as [[Walt Disney]], [[Jack L. Warner]], [[Gary Cooper]], [[Ronald Reagan]], [[Robert Taylor (American actor)|Robert Taylor]], and [[Adolphe Menjou]]. Disney testified that the threat of Communists in the film industry was a serious one, and he named specific people who had worked for him as probable Communists.{{sfn|Cohen|2004|p=167}} Reagan, who was then president of the [[Screen Actors Guild]], testified that a small clique within his union was using "communist-like tactics" in attempting to steer union policy, but that he did not know if those (unnamed) members were Communists or not, and that in any case he thought the union had them under control.<ref>{{cite web | title=Testimony of Ronald Reagan and Walter E. Disney |url=http://historymatters.gmu.edu/d/6458/ |archive-date=30 June 2015 |archive-url=https://web.archive.org/web/20150630063822/http://historymatters.gmu.edu/d/6458 |publisher=History Matters}} Reagan's first wife, actress [[Jane Wyman]], later said{{snd}}as reported by Joe Morella in his 1985 biography of Wyman{{snd}}that Reagan's political accusations against colleagues and friends led to tension in their marriage, eventually resulting in their divorce.</ref> Adolphe Menjou declared: "I am a witch hunter if the witches are Communists. I am a [[Red-baiting|Red-baiter]]. I would like to see them all back in Russia."<ref>Scott and Rutkoff (1999), p. 338.</ref>

In contrast, other leading Hollywood figures, including directors [[John Huston]] and [[Billy Wilder]] and actors [[Humphrey Bogart]], [[Lauren Bacall]], [[Judy Garland]] and [[Danny Kaye]], organized the [[Committee for the First Amendment]] and flew to Washington, D.C. to protest the government's political harassment of the film industry.{{sfn|Ceplair|Englund|1983|pp=275–279}} Members of this committee, such as [[Sterling Hayden]], assured Bogart that they were not Communists. During the hearings, a local Washington paper reported that Hayden was in fact a Communist. After returning to Hollywood, Bogart shouted at Danny Kaye, "You fuckers sold me out."<ref>{{cite book |last=Billingsley |first=Kenneth Lloyd |year=1998 |title=Hollywood Party: How Communism Seduced the American Film Industry in the 1930s and 1940s |pages=191–195 |location=Rocklin, CA |publisher=Prima Publishing |isbn=978-0761513766}}</ref> The First Amendment Committee was attacked for being naïve. Under pressure from his [[Warner Bros.]] employer to distance himself from the purported Hollywood [[Red#In politics|Reds]], Bogart negotiated a statement that did not denounce the First Amendment Committee, but said his trip to D.C. had been "ill-advised, even foolish."<ref>[[Sean Griffin]] (ed). ''What Dreams Were Made Of: Movie Stars of the 1940s''. Rutgers University Press, 2011, p. 92.</ref> Billy Wilder told the other committee members that "we oughta fold."
<ref>{{cite book |title=Red Star Over Hollywood: The Film Colony's Long Romance with the Left |last1=Radosh |first1=Ronald |author-link=Ronald Radosh |last2=Radosh |first2=Allis |year=2005 |publisher=Encounter Books |location=San Francisco |isbn=1-893554-96-1 |pages=161–162}}</ref>

Many of the film industry professionals targeted by the HUAC were alleged to have been members of the CPUSA. Of the 43 people put on the witness list, 24 were "friendly", some of whom had previously appeared in closed HUAC sessions in Los Angeles.<ref name=Truthdig_article/> But 19 were "unfriendly" or "hostile witnesses" who announced they would not give evidence to aid the investigation. When the hearings for the 19 commenced on Monday, October 27, the nation's attention was riveted, especially given the presence in Washington, D.C. of movie stars from the Committee for the First Amendment.{{sfn|Ceplair|Englund|1983|pp=281–282}}

Only eleven of the 19 were called to testify. One of them, émigré playwright [[Bertolt Brecht]], ultimately decided to answer the HUAC's questions, although he did so evasively and fled the U.S. the very next day, never to return.<ref name=Dick7>Dick (1989), p. 7.</ref><ref>{{cite web|author=Schuetze-Coburn, Marje |url=http://www.usc.edu/libraries/archives/arc/libraries/feuchtwanger/exhibits/Brecht/HUAC.html|title=Bertolt Brecht's Appearance Before the HUAC |date=February 1998 |access-date=2010-03-03|publisher=USC-Feuchtwanger Memorial Library |archive-date=2009-07-19 |archive-url=https://web.archive.org/web/20090719134730/http://www.usc.edu/libraries/archives/arc/libraries/feuchtwanger/exhibits/Brecht/HUAC.html}}</ref> The other ten refused to cooperate, citing their [[First Amendment to the United States Constitution|First Amendment]] right to [[freedom of speech]] and assembly. Most of them challenged the legitimacy of the committee. John Howard Lawson said during his testimony: "I am not on trial here, Mr. Chairman. This committee is on trial here before the American people. Let us get that straight."<ref>{{cite book |title=Hearings Regarding the Communist Infiltration of the Motion-Picture-Industry Activities in the United States (Second Week) (1947) |chapter=Testimony of John Howard Lawson |page=514 |via=Sacramento State University |url=https://www.csus.edu/indiv/c/craftg/histhrs%20169/lawson.pdf}}</ref> Among the questions they declined to answer was the one now generally rendered as, "Are you now, or have you ever been, a member of the [[Communist Party USA|Communist Party]]?".<ref>{{cite book | url=https://books.google.com/books?id=8RxLbr0QPdgC&q=mccarthyism+64+dollar+question&pg=PA153 | title=The Performance of Power: Theatrical Discourse and Politics | publisher=[[University of Iowa Press]] | editor-last=Case | editor-first=Sue-Ellen | editor-last2=Reinelt | editor-first2=Janelle G. | year=1991 | pages=153 | isbn=9781587290343 | access-date=2020-10-18 | archive-date=2024-02-02 | archive-url=https://web.archive.org/web/20240202002826/https://books.google.com/books?id=8RxLbr0QPdgC&q=mccarthyism+64+dollar+question&pg=PA153#v=snippet&q=mccarthyism%2064%20dollar%20question&f=false | url-status=live }}</ref><ref>{{cite book |last1=Dmytryk |first1=Edward |title=Odd Man Out: A Memoir of the Hollywood Ten |date=1996 |publisher=Southern Illinois University Press |isbn=9780809319992 |page=59 |url=https://archive.org/details/oddmanoutmemoiro0000dmyt_j8j0/page/59/mode/1up |quote=In the early days of the Martin Dies Committee ... the question had simply been, Are you a member of the Communist Party of the United States? As a countermeasure, the Party adopted a rule that automatically cancelled a Communist's membership the moment the question was asked. He could then answer 'No' without perjuring himself. The final wording ... was adopted to circumvent the Party's tactic.}}</ref> The HUAC formally charged the ten men with [[contempt of Congress]] and began criminal proceedings against them in the full [[United States House of Representatives|House of Representatives]].<ref>{{USCongRec|1947|H10818|date=October 27, 1947}}</ref>

In light of the Hollywood Ten's defiance of the HUAC{{snd}}in addition to refusing to answer questions, they also tried unsuccessfully to read opening statements decrying the House committee's investigation as unconstitutional{{snd}}political pressure mounted on the film industry to demonstrate its "anti-subversive" bona fides. Late in the hearings, [[Eric Johnston]], president of the [[Motion Picture Association of America]] (MPAA), vowed to the committee that he would never "employ any proven or admitted Communist because they are just a disruptive force, and I don't want them around."<ref name=Dick7 />

On November 17, the Screen Actors Guild voted to make its officers swear a loyalty pledge asserting each was not a Communist. On November 24, the House of Representatives voted 346 to 17 to approve citations against the Hollywood Ten for contempt of Congress. The next day, after a meeting of 50 [[studio system|film industry executives]] at New York City's Waldorf-Astoria hotel, MPAA President Johnston issued a [[press release]] that is today referred to as the [[Waldorf Statement]].{{Ref label|B|b|none}} The statement said the ten uncooperative witnesses would be fired or suspended without pay and not re-employed until they were cleared of contempt charges and had sworn that they were not Communists. The first Hollywood blacklist was in effect.

===Growth (1948–1950)===
The HUAC hearings failed to turn up any proof that Hollywood was secretly disseminating Communist propaganda, but the industry was nonetheless transformed. The fallout from the inquiry was a factor in the decision by [[Floyd Odlum]], the primary owner of [[RKO Pictures]], to leave the industry.<ref>Lasky (1989), p. 204.</ref> As a result, the studio passed into the hands of [[Howard Hughes]]. Within weeks of taking over in May 1948, Hughes fired most of RKO's employees and virtually shut the studio down for six months while he had the political views of the remaining employees investigated. Then, just as RKO swung back into production, [[Studio system#The end of the system and the death of RKO|Hughes made the decision to settle]] a long-standing [[United States v. Paramount Pictures, Inc.|federal antitrust suit]] against the [[studio system#Sound and the Big Five|Big Five studios]]. This was one of the crucial steps in the collapse of the [[studio system]] that had governed Hollywood for a quarter-century.

In early 1948, all of the Hollywood Ten were convicted of contempt. Following a series of unsuccessful appeals, the cases arrived before the [[Supreme Court of the United States|Supreme Court]]. Among the submissions filed in defense of the Ten was an [[amicus curiae]] brief signed by 204 Hollywood professionals. After the court denied review, the ten men began serving their prison sentences in 1950. One of them, screenwriter [[Dalton Trumbo]], said during an interview for the documentary film ''Hollywood On Trial'' (1976):
{{blockquote|As far as I was concerned, it was a completely just verdict. I had contempt for that Congress and have had contempt for several since. And on the basis of guilt or innocence, I could never really complain very much. That this was a crime or misdemeanor was the complaint, my complaint.<ref>{{cite book|last=Ceplair|first=Larry|title=Dalton Trumbo, Blacklisted Hollywood Radical|url=https://books.google.com/books?id=2SbJBQAAQBAJ&pg=PA648|publisher=University Press of Kentucky|date=2015|page=228|isbn=9780813146829|access-date=December 15, 2015|archive-date=February 2, 2024|archive-url=https://web.archive.org/web/20240202002904/https://books.google.com/books?id=2SbJBQAAQBAJ&pg=PA648#v=onepage&q&f=false|url-status=live}}</ref>}}

[[File:Dmytryk before House committee.jpg|thumb|right|upright=1.4|Dmytryk cooperating with the HUAC]]
In September 1950, Hollywood Ten member [[Edward Dmytryk]] announced that he had once been a Communist and was prepared to give evidence against others who had been as well. He was released early from jail. Following his 1951 HUAC appearance in which he described his past Party membership and also named names, his directorial career recovered.<ref>Gevinson (1997), p. 234.</ref>

The others remained silent and most were unable to obtain work in American film and television for many years. [[Adrian Scott]], who had produced four of Dmytryk's films{{snd}}''[[Murder, My Sweet]]''; ''[[Cornered (1945 film)|Cornered]]''; ''[[So Well Remembered]]''; and ''[[Crossfire (film)|Crossfire]]''{{snd}}was one of those named by his former friend. Scott's next screen credit did not come until 1972 and he never produced another feature film. Some blacklisted writers managed to work surreptitiously, using [[pseudonym]]s or the names of friends who posed as the actual writers (those who allowed their names to be used in this fashion were called "fronts").

Of the 204 who signed the amicus brief on behalf of the Hollywood Ten, 84 were themselves blacklisted.<ref>Stone (2004), p. 365.</ref> There was a general chilling effect in the entertainment business. Humphrey Bogart, who had been a key member of the Committee for the First Amendment, felt compelled to write an article for ''[[Photoplay]]'' magazine denying he was a Communist sympathizer.<ref>Bogart (1948).</ref> The [[Tenney Committee]], which had continued its state-level investigations, summoned songwriter [[Ira Gershwin]] to explain his involvement with the First Amendment Committee because involvement alone was sufficient to arouse suspicion.<ref>Jablonski (1998), p. 350.</ref>
[[File:CounterattackMasthead.jpg|thumb|right|upright=1.1|The May 7, 1948, issue of the ''Counterattack'' newsletter warned readers about a radio talk show that had recently expanded its audience by moving from the [[Mutual Broadcasting System|Mutual]] network to [[American Broadcasting Company|ABC]]: "''Communist Party members and fellow-travelers'' have often been guests on [Arthur] Gaeth's program."]]

A number of non-governmental organizations participated in enforcing and expanding the blacklist; in particular, the [[American Legion]], the conservative war veterans' group, was instrumental in pressuring the studios to ban Communists and fellow travelers. In 1949, the Americanism Division of the Legion issued its own blacklist – a roster of 128 people who it claimed were part of the "Communist Conspiracy". Among the names on the Legion's list was that of playwright [[Lillian Hellman]].<ref>Newman (1989), 140.</ref> Hellman had written or contributed to the screenplays of approximately ten motion pictures up to that point; she was not employed again by a Hollywood studio until 1966.

Another influential group was American Business Consultants Inc., founded in 1947. In the subscription information for its weekly publication ''Counterattack'', "The Newsletter of Facts to Combat Communism", it declared that it was run by "a group of ''former'' FBI men. It has no affiliation whatsoever with any government agency." Notwithstanding that claim, it seems the editors of ''Counterattack'' had direct access to the files of both the [[Federal Bureau of Investigation]] and HUAC; the results of that access became widely apparent with the June 1950 publication of ''[[Red Channels]]''. This ''Counterattack'' spinoff listed 151 people in entertainment and broadcast journalism, along with records of their involvement in what the pamphlet meant to be taken as Communist or pro-Communist activities.<ref>''Red Channels'' (1950), pp. 6, 214.</ref> A few of those named, such as Hellman, were already being denied employment in the motion picture, TV, and radio fields; the publication of ''Red Channels'' meant that scores more were placed on the blacklist. That year, [[CBS]] instituted a loyalty oath which it required of all its employees.<ref>{{cite book |last1=Buhle |first1=Paul |last2=Wagner |first2=David |year=2003a |title=Hide in Plain Sight: The Hollywood Blacklistees in Film and Television, 1950–2002 |location=New York |publisher=Palgrave Macmillan |isbn=1-4039-6144-1}}</ref>

[[Jean Muir (actress)|Jean Muir]] was the first performer to lose employment because of a listing in ''Red Channels''. In 1950, Muir was named as a [[Communist]] sympathizer in the pamphlet, and was immediately removed from the cast of the television sitcom ''[[The Aldrich Family]]'', in which she had been cast as Mrs. Aldrich. NBC had received between 20 and 30 phone calls protesting her being in the show. [[General Foods]], the sponsor, said that it would not sponsor programs in which "controversial persons" were featured. Though the company later received thousands of calls protesting the decision, it was not reversed.<ref>Brown, pp. 89–90</ref>

===HUAC return (1951–1952)===
In 1951, with the U.S. Congress now under Democratic control, HUAC launched a second investigation of communism in Hollywood. As actor [[Larry Parks]] said when called before the panel,

<blockquote>Don't present me with the choice of either being in contempt of this committee and going to jail or forcing me to really crawl through the mud to be an informer. For what purpose? I don't think it is a choice at all. I don't think this is really sportsmanlike. I don't think this is American. I don't think this is American justice.<ref>Parish (2004), p. 92.</ref>
</blockquote>

Parks ultimately testified, becoming, albeit reluctantly, a "friendly witness", and found himself blacklisted anyway.

The legal tactics of those refusing to testify had changed by this time. Instead of relying on the First Amendment, they invoked the [[Fifth Amendment to the United States Constitution|Fifth Amendment]]'s shield against self-incrimination (although, as before, Communist Party membership was not illegal). While this usually allowed a witness to avoid "naming names" without being indicted for contempt of Congress, "taking the Fifth" in one's HUAC testimony guaranteed membership on the industry blacklist.{{sfn|Ceplair|Englund|1983|p=387}}

Historians sometimes distinguish between (a) the "official blacklist" – i.e., the names of those who were called by the HUAC and, in whatever manner, refused to cooperate or were identified as Communists in the hearings – and (b) the [[greylisting (employment)|graylist]] – those who were denied work because of their political or personal affiliations, real or imagined. The consequences of being on either list were largely the same. The graylist also refers more specifically to those who were denied work by the major studios but could still find jobs on [[Poverty Row]]: Composer [[Elmer Bernstein]], for instance, was called before the HUAC when it was discovered he had written some music reviews for a Communist newspaper. After he refused to name names, pointing out that he had never attended a Communist Party meeting, he found himself composing music for movies such as ''[[Cat Women of the Moon]]''.<ref>{{cite web|author=Susman, Gary |url=https://ew.com/article/2004/08/19/oscar-winning-composer-elmer-bernstein-dies/ |title=Goodbye|date=August 19, 2004|access-date=2009-02-27 |publisher=EntertainmentWeekly.com |archive-date=2011-09-22 |archive-url=https://web.archive.org/web/20110922211815/http://www.ew.com/ew/article/0,,684811,00.html|url-status=live}} {{cite web|url=https://www.today.com/popculture/composer-elmer-bernstein-dead-82-wbna5753311|title=Composer Elmer Bernstein Dead at 82|date=August 19, 2004|access-date=2009-02-27|publisher=Today.com (Associated Press)|archive-date=2017-04-20|archive-url=https://web.archive.org/web/20170420124904/http://www.today.com/popculture/composer-elmer-bernstein-dead-82-wbna5753311|url-status=live}}</ref>
[[File:Anticommunist Literature 1950s.tiff|right|upright=1.5|Anti-communist tract from the 1950s, decrying the "REDS of Hollywood and Broadway"]]

While there were film artists like Parks and Dmytryk who eventually cooperated with the HUAC, other friendly witnesses gave damaging testimony with less apparent hesitation or reluctance, most notably director [[Elia Kazan]] and screenwriter [[Budd Schulberg]]. Their willingness to describe the political leanings of their friends and professional associates effectively brought a halt to dozens of careers and compelled a number of artists to depart for Mexico or Europe to find employment. Director [[Jules Dassin]] was among the best known of these. Briefly a Communist, he dropped out of the Party in 1939. He was blacklisted after Dmytryk and fellow filmmaker [[Frank Tuttle]] named him at HUAC hearings. Dassin left for France, and spent much of his remaining career in Greece.<ref>Wakeman (1987), pp. 190, 192.</ref>

Scholar Thomas Doherty describes how the hearings swept onto the blacklist those who had never even been politically active, let alone suspected of being Communists:
<blockquote>[O]n March 21, 1951, the name of the actor [[Lionel Stander]] was uttered by the actor Larry Parks during testimony before HUAC. "Do you know Lionel Stander?" committee counsel [[Frank S. Tavenner, Jr.|Frank S. Tavenner]] inquired. Parks replied he knew the man, but had no knowledge of his political affiliations. No more was said about Stander either by Parks or the committee – no accusation, no insinuation. Yet Stander's phone stopped ringing. Prior to Parks's testimony, Stander had worked on ten television shows in the previous 100 days. Afterwards, nothing.<ref>Doherty (2003), p. 31.</ref></blockquote>

When Stander himself appeared before the HUAC, he began by pledging his full support in the fight against "subversive" activities:
<blockquote>I know of a group of fanatics who are desperately trying to undermine the Constitution of the United States by depriving artists and others of Life, Liberty, and the Pursuit of Happiness without due process of law ... I can tell names and cite instances and I am one of the first victims of it ... [This is] a group of ex-Fascists and America-Firsters and anti-Semites, people who hate everybody, including Negroes, minority groups, and most likely themselves ... [T]hese people are engaged in a conspiracy outside all the legal processes to undermine the very fundamental American concepts upon which our entire system of democracy exists.<ref>Quoted in Belton (1994), pp. 202–203.</ref></blockquote>
Stander was clearly speaking of the committee itself.<ref name=B203>Belton (1994), p. 203.</ref>

The hunt for subversives extended into every branch of the entertainment industry. In the field of animation, two studios in particular were affected: [[United Productions of America]] (UPA) was purged of a large portion of its staff, while New York-based Tempo was entirely crushed.{{sfn|Cohen|2004|pp=173–179}} HUAC investigations sometimes had the effect of destroying families. For example, screenwriter [[Richard J. Collins|Richard Collins]], after a brief period on the blacklist, became a friendly witness and abandoned his wife, actress [[Dorothy Comingore]], who refused to name names. After divorcing Comingore, Collins gained custody of the couple's young son as well. The family's story was later dramatized in the film ''[[Guilty by Suspicion]]'' (1991), in which the character based on Comingore "commits suicide rather than endure a long mental collapse."<ref name="Buhle and Wagner 2003b, p. 21">Buhle and Wagner (2003b), p. 21.</ref> In real life, Comingore succumbed to alcoholism and died of a pulmonary disease at age 58. According to historians [[Paul Buhle]] and David Wagner, "premature strokes and heart attacks were fairly common [among blacklistees], along with heavy drinking as a form of suicide on the installment plan."{{sfn|Buhle|Wagner|2003a|p=250}}

For all that transpired in the HUAC hearings, the proof that Communists actually used Hollywood films as vehicles for subversion remained hard to come by. Schulberg reported how his manuscript for the novel ''[[What Makes Sammy Run?]]'' (later a screenplay also) had been subject to ideological critique by Hollywood Ten writer [[John Howard Lawson]], whose comments he had solicited. But the significance of such interactions may have been exaggerated. As historian [[Gerald Horne]] notes, many Hollywood screenwriters had joined or associated with the local CPUSA chapter not because of allegiance to communism, but because the CPUSA chapter "offered a collective to a profession that was enmeshed in tremendous isolation at the typewriter. Their 'Writers' Clinic' had 'an informal "board" of respected screenwriters' – including Lawson and [[Ring Lardner Jr.]] – 'who read and commented upon any screenplay submitted to them. Although their criticism could be plentiful, stinging, and (sometimes) politically dogmatic, the author was entirely free to accept it or reject it as he or she pleased without incurring the slightest "consequence" or sanction.'"{{sfn|Horne|2006|p=134}} Much of the onscreen evidence of Communist influence uncovered by the HUAC was flimsy at best. One witness remembered Stander, while performing in a film, whistling the left-wing "[[The Internationale|Internationale]]" as his character waited for an elevator. "Another noted that screenwriter [[Lester Cole]] had inserted lines from a famous pro-[[Spanish Civil War|Loyalist]] speech by [[Dolores Ibárruri|La Pasionaria]] about it being 'better to die on your feet than to live on your knees' into a pep talk delivered by a football coach."<ref name=B203 />

Others have argued that Communists did affect the film industry by suppressing production of works they politically opposed. In a ''[[Reason (magazine)|Reason]]'' magazine article entitled "Hollywood's Missing Movies", Kenneth Billingsley cites a case where Trumbo "bragged" in the ''[[Daily Worker]]'' about quashing films with anti-Soviet content: among them were proposed adaptations of [[Arthur Koestler]]'s anti-[[totalitarian]] books ''[[Darkness at Noon]]'' and ''[[The Yogi and the Commissar]]'', which described the rise of communism in Russia, and [[Victor Kravchenko (defector)|Victor Kravchenko]]'s ''[[I Chose Freedom]]''.<ref>[http://www.reason.com/news/show/27732.html Kenneth Billingsley, "Hollywood's Missing Movies: Why American films have ignored life under communism"] {{Webarchive|url=https://web.archive.org/web/20080312064605/http://reason.com/news/show/27732.html |date=2008-03-12 }}, ''Reason Magazine'', June 2000</ref> Authors Ronald and Allis Radosh make a similar point in ''Red Star over Hollywood'' that prominent anti-Communist books were only influential "in the rare intellectual atmosphere of the East Coast" but were kept apart from Hollywood's consideration.{{sfn|Radosh|Radosh|2005|p=117}}

===Height (1952–1956)===
In 1952, the [[Screen Writers Guild]] – founded in 1933 by three future members of the Hollywood Ten – amended its [[screen credit]] rules to authorize the studios to omit the names of any individuals who had failed to clear themselves before Congress.<ref>{{cite book |title=Tender Comrades: A Backstory of the Hollywood Blacklist |last1=McGilligan |first1=Patrick |last2=Buhle |first2=Paul |year=1997 |publisher=St. Martin's Press |location=New York |chapter=Ring Lardner Jr. |page=413 |isbn=0-312-17046-7}}</ref> This agreement prevented a recurrence of what happened in 1950. That's when the blacklisted [[Dalton Trumbo]] inadvertently received screen credit for having written, years earlier, the story on which the screenplay for [[Columbia Pictures]]' ''[[Emergency Wedding]]'' was based. But "lapses" of that kind were not repeated. There were no more instances of film accrediting of blacklisted individuals until 1960. For example, the name of [[Albert Maltz]], who had written the original screenplay for ''[[The Robe (film)|The Robe]]'' in the mid-1940s, was nowhere to be seen when the movie was released in 1953.<ref>Dick (1989), p. 94.</ref>

As William O'Neill notes, pressure was maintained even on those who had ostensibly cleared themselves:

<blockquote>On December 27, 1952, the American Legion announced that it disapproved of a new film, ''[[Moulin Rouge (1952 film)|Moulin Rouge]]'', starring [[José Ferrer]], who used to be no more progressive than hundreds of other actors and had already been grilled by HUAC. The picture itself was based on the life of [[Toulouse-Lautrec]] and was totally apolitical. Nine members of the Legion had picketed it anyway, giving rise to the controversy. By this time, people were not taking any chances. Ferrer immediately wired the Legion's national commander that he would be glad to join the veterans in their "fight against communism".<ref>O'Neill (1990), p. 239.</ref></blockquote>

The group's efforts dragged many others onto the blacklist: In 1954, "[s]creenwriter Louis Pollock, a man without any known political views or associations, suddenly had his career yanked out from under him because the American Legion confused him with Louis Pollack, a California clothier, who had refused to co-operate with HUAC."{{sfn|Ceplair|Englund|1983|p=388}} [[Orson Bean]] recalled that he had briefly been placed on the blacklist after dating a member of the Party, despite his own politics being conservative.<ref name="orsonbeandies">{{Cite news|url=https://www.smdp.com/beloved-actor-comedian-orson-bean-91-hit-and-killed-by-car-on-venice-blvd/185982|title=Beloved actor-comedian Orson Bean, 91, hit and killed by car on Venice Blvd|date=2020-02-08|work=Santa Monica Daily Press|access-date=2020-02-10|agency=Associated Press|archive-date=2020-02-10|archive-url=https://web.archive.org/web/20200210073427/https://www.smdp.com/beloved-actor-comedian-orson-bean-91-hit-and-killed-by-car-on-venice-blvd/185982|url-status=live}}</ref>

During this same period, a number of powerful newspaper columnists covering the entertainment industry, including [[Walter Winchell]], [[Hedda Hopper]], [[Victor Riesel]], [[Jack O'Brian]], and [[George Sokolsky]], regularly suggested names that should be added to the blacklist.{{sfn|Cohen|2004|p=176}} Actor [[John Ireland (actor)|John Ireland]] received an out-of-court settlement to end a 1954 lawsuit against the [[Young & Rubicam]] advertising agency, which had ordered him dropped from the lead role in a TV series it sponsored. ''Variety'' described it as "the first industry admission of what has for some time been an open secret – that the threat of being labeled a political non-conformist, or worse, has been used against show business personalities, and that a screening system is at work determining these [actors'] availabilities for roles."<ref name="Doherty 2003, p. 236">Doherty (2003), p. 236.</ref>
[[File:StormCenterPoster.jpg|thumb|right|''[[Storm Center]]'', the first Hollywood movie to overtly take on [[McCarthyism]], was released in 1956. [[Bette Davis]] "plays a small-town librarian who refuses, on principle, to remove a book called ''The Communist Dream'' from the shelves when the local council deems it subversive."<ref>Charity (2005), p. 1266.</ref>]]
The Hollywood blacklist had long gone hand in hand with the Red-baiting activities of [[J. Edgar Hoover]]'s FBI. Adversaries of HUAC such as lawyer [[Bartley Crum]]{{snd}}who defended Hollywood Ten members in front of the committee{{snd}}were themselves labeled as Communist sympathizers and targeted for investigation. The FBI tapped Crum's phones, opened his mail, and placed him under continuous surveillance. As a consequence, he lost most of his clients and, unable to cope with the stress of ceaseless harassment, committed suicide in 1959.<ref>Bosworth (1997), passim.</ref> Intimidating and dividing the left is now seen as a central purpose of the HUAC hearings. Fund-raising for once-popular humanitarian efforts became difficult, and despite the sympathies of many in the industry there was little open support in Hollywood for causes such as the [[Civil Rights Movement]] and the opposition to [[nuclear weapons testing]].{{sfn|Cohen|2004|pp=187–188}}{{sfn|Ceplair|Englund|1983|p=345}}

The struggles attending the blacklist were played out metaphorically on the big screen in various ways. As described by film historian James Chapman, "[[Carl Foreman]], who had refused to testify before the committee, wrote the western ''[[High Noon]]'' (1952), in which a town marshal (played, ironically, by friendly witness [[Gary Cooper]]) finds himself deserted by the good citizens of Hadleyville (read: Hollywood) when a gang of outlaws who had terrorized the town several years earlier (read: HUAC) returns."<ref>Chapman (2003), p. 124.</ref> Cooper's lawman cleaned up Hadleyville, but Foreman was forced to leave for Europe to find work. Meanwhile, Kazan and Schulberg collaborated on a movie widely seen as justifying their decision to name names. ''[[On the Waterfront]]'' (1954) became one of the most honored films in Hollywood history, winning eight [[Academy Awards]], including Oscars for Best Film, Kazan's direction, and Schulberg's screenplay. The film featured [[Lee J. Cobb]], one of the best known actors to name names. ''Time Out Film Guide'' argues that ''On the Waterfront'' is "undermined" by its "embarrassing special pleading on behalf of informers."<ref>Andrew (2005), p. 981.</ref>

After his release from prison, [[Herbert Biberman]] of the Hollywood Ten directed ''[[Salt of the Earth (1954 film)|Salt of the Earth]]'' (1954). For this project, he and the newly formed Independent Productions Corporation worked in New Mexico, outside the [[studio system]], with a group of blacklisted professionals: producer [[Paul Jarrico]], writer [[Michael Wilson (writer)|Michael Wilson]], and actor [[Will Geer]]. The film, which concerns a strike by Mexican-American mine workers{{snd}}with an ahead-of-its-time subplot "about the growing feminist consciousness of the workers' wives"{{sfn|Radosh|Radosh|2005|p=212}}{{snd}}was denounced as Communist propaganda when it was completed in 1953. Distributors boycotted it, newspapers and radio stations rejected advertisements for it, and the projectionists' union refused to run it. In 1954, only about a dozen theaters in the U.S. exhibited ''Salt of the Earth''.<ref>Christensen and Haas (2005), pp. 116–117 ("screened in only eleven theaters"); Weigand (2002), p. 133 ("arranged showings of the film in only fourteen theaters").</ref>

===Break (1957–present)===
[[Jules Dassin]] was one of the first to successfully defy the blacklist. Although he was named by [[Edward Dmytryk]] and [[Frank Tuttle]] in spring 1951,<ref>{{cite news |title=Once a Communist, Dmytryk Reveals; 'Willing to Talk' |url=https://www.nytimes.com/1951/04/26/archives/once-a-communist-dmytryk-reveals-willing-to-talk.html |last=Trussell |first=C. P. |newspaper=The New York Times |date=26 April 1951}}</ref> Dassin still managed to direct in December 1952 the Broadway play ''[[Two's Company (musical)|Two's Company]]'' with [[Bette Davis]]. In June 1956, his French-made film ''[[Rififi]]'' opened at the Fine Arts Theater in New York<ref>{{cite news |last=Crowther |first=Bosley |title=Screen: Tough Paris Crime Story; 'Rififi,' About a Jewel Theft, at Fine Arts |newspaper=The New York Times |url=https://www.nytimes.com/1956/06/06/archives/screen-tough-paris-crime-story-rififi-about-a-jewel-theft-at-fine-a.html |date=6 June 1956}}</ref> and stayed for 20 weeks.

A key figure in bringing an end to blacklisting was [[John Henry Faulk]]. Host of an afternoon comedy radio show, Faulk was a leftist active in the [[American Federation of Television and Radio Artists]] union. He was scrutinized by [[AWARE, Inc.]], a private firm that examined individuals for signs of "disloyalty" and Communist sympathies. Marked by AWARE as unfit, Faulk was fired by CBS Radio. Almost alone among blacklisting's victims, he decided to sue AWARE.<ref>Faulk (1963), passim.</ref> Though his case which began in 1957 dragged through the courts for years, the suit itself was an important symbol of the building resistance to the status quo.<ref>{{cite news |last=Gerard |first=Jeremy |title=John Henry Faulk, 76, Dies; Humorist Who Challenged Blacklist |url=https://www.nytimes.com/1990/04/10/obituaries/john-henry-faulk-76-dies-humorist-who-challenged-blacklist.html |newspaper=The New York Times |date=10 April 1990}}</ref>

The initial cracks in the blacklist were evident on television, specifically at CBS. In 1957, blacklisted actor [[Norman Lloyd]] was hired by [[Alfred Hitchcock]] as an associate producer for the anthology series ''[[Alfred Hitchcock Presents]]'', then entering its third season on the network.<ref>Anderson (2007).</ref> On November 30, 1958, a live CBS production of ''[[Wonderful Town]]'', based on short stories written by then-Communist [[Ruth McKenney]], appeared with the proper writing credit of blacklisted [[Edward Chodorov]], along with his literary partner, Joseph Fields.{{sfn|Buhle|Wagner|2003a|p=30}} The following year, actress [[Betty Hutton]] insisted that blacklisted composer [[Jerry Fielding]] must be hired as musical director for her new series, also on CBS.<ref name="Burlingame 2000 74">Burlingame (2000), p. 74.</ref>

The first big break in the Hollywood blacklist followed soon after. On January 20, 1960, director [[Otto Preminger]] publicly announced that Dalton Trumbo, one of the best known members of the Hollywood Ten, would be the screenwriter of Preminger's forthcoming film ''[[Exodus (1960 film)|Exodus]]''.<ref>{{cite web |title=January 20, 1960 – Hollywood Blacklist Broken – Producer Otto Preminger Credits Dalton Trumbo for 'Exodus' Script |publisher=Today in Civil Liberties History |access-date=6 October 2024 |url=https://todayinclh.com/?event=hollywood-blacklist-broken-preminger-credits-dalton-for-exodus}}</ref> Six and a half months later, with ''Exodus'' still to debut, ''[[The New York Times]]'' reported that [[Universal Pictures]] would give Trumbo screen credit for his writing work on ''[[Spartacus (film)|Spartacus]]'', a decision now recognized as being largely made by the film's star/producer [[Kirk Douglas]].<ref>Smith (1999), p. 206.</ref> On October 6, ''Spartacus'' premiered – the first movie to bear Trumbo's name since he had received story credit on ''Emergency Wedding'' in 1950. In the period from 1947 to 1960, Trumbo had written or co-written approximately 17 motion pictures without credit. ''Exodus'' followed in December 1960, also bearing Trumbo's name. The blacklist was now clearly coming to an end, but its effects have continued to reverberate up until the present day.<ref>{{cite web |title=Jules Dassin, victim of the anti-communist witch-hunt, dies at 96 |publisher=World Socialist Web Site |last=Walsh |first=David |date=3 April 2008 |url=http://www.wsws.org/articles/2008/apr2008/dass-a03.shtml |archive-date=30 September 2012 |archive-url=https://web.archive.org/web/20120930005237/http://www.wsws.org/articles/2008/apr2008/dass-a03.shtml |quote=the anti-communist frenzy of the 1950s ... crippled artistic and intellectual life in the US for decades. The film industry still suffers from the purge of left-wing and critical spirits.}}</ref>

John Henry Faulk won his lawsuit in 1962. With this court decision, the private blacklisters and those who enforced entertainment industry blacklists were put on notice that they were [[Legal liability|legally liable]] for the professional and financial damage they caused, which helped bring a halt to "smear" publications like ''Counterattack''.<ref>Fried (1997), p. 197.</ref> However, a number of blacklistees, such as Adrian Scott and Lillian Hellman, remained ''personae non gratae'' for several more years. The character actor Lionel Stander could not find film work until 1965.<ref>Belton (1994), p. 202.</ref> Hollywood Ten screenwriters John Howard Lawson and Lester Cole, who did not renounce communism in later life, were never "un-blacklisted".{{sfn|Horne|2006|p=xxii}}<ref>{{harvnb|Cole|1981|pp=399–401}}. Commenting on the late 1960s & early '70s, Cole wrote: "The Blacklist was still in effect for some, certainly for John Howard Lawson and myself.... The Un-American Activities Committee was gone, but its ghost was alive and well in Hollywood."</ref>
 
Some of those who named names, like Kazan and Schulberg, argued for decades afterward that they had made an ethically proper decision. Others, like actor [[Lee J. Cobb]] and director [[Michael Gordon (film director)|Michael Gordon]], who gave friendly testimony to HUAC after suffering on the blacklist for a time, "concede[d] with remorse that their plan was to name their way back to work."{{sfn|Navasky|1980|p=280}} Several "informers" were haunted by the choice they made. In 1963, actor [[Sterling Hayden]] declared,
<blockquote>I was a rat, a stoolie, and the names I named of those close friends were blacklisted and deprived of their livelihood.{{sfn|Buhle|Wagner|2003a|p=251}}</blockquote>
Scholars Paul Buhle and Dave Wagner state that Hayden "was widely believed to have drunk himself into a near-suicidal depression decades before his 1986 death."{{sfn|Buhle|Wagner|2003a|p=251}}

Into the 21st century, the [[Writers Guild of America, West|Writers Guild]] pursued the correction of screen credits in movies of the 1950s and early 1960s to properly reflect the contributions of blacklisted writers such as [[Carl Foreman]] and [[Hugo Butler]].<ref>Weinraub (2000); {{cite web|url=http://www.wga.org/subpage_writersresources.aspx?id=1958|title=Corrected Blacklist Credits|date=July 17, 2000|access-date=2010-03-03|publisher=Writers Guild of America, West|url-status=dead|archive-url=https://web.archive.org/web/20080102205318/http://www.wga.org/subpage_writersresources.aspx?id=1958|archive-date=January 2, 2008}}</ref> On December 19, 2011, the guild, acting on a request for an investigation made by his dying son [[Christopher Trumbo]], announced that Dalton Trumbo would get full credit for his work on the screenplay for the romantic comedy ''[[Roman Holiday]]'' (1953), almost sixty years after the fact.<ref>Verrier (2011); {{cite web|author1=DeVall, Cheryl|author2=Osburn, Paige|name-list-style=amp|title=Blacklisted writer gets credit restored after 60 years for Oscar-winning film|url=https://laist.com/news/kpcc-archive/blacklisted-writer-gets-credit-restored-oscar-winn|publisher=LAist|date=December 19, 2011}}</ref>

==Blacklisted  individuals==
===Hollywood Ten===
<!-- Deleted image removed: [[File:Hollywood10.jpg|thumb|right|upright=1.25|The Hollywood Ten in November 1947 waiting to be fingerprinted in the [[U.S. Marshal]]'s office after being cited for [[contempt of Congress]]. Front row (from left): [[Herbert Biberman]], attorneys Martin Popper and [[Robert W. Kenny]], [[Albert Maltz]], [[Lester Cole]]. Middle row: [[Dalton Trumbo]], [[John Howard Lawson]], [[Alvah Bessie]], [[Samuel Ornitz]]. Back row: [[Ring Lardner Jr.]], [[Edward Dmytryk]], [[Adrian Scott]].]] -->
On September 27, 1947, HUAC subpoenaed the following nineteen individuals in an effort to investigate "subversive" elements in the entertainment industry:<ref name=Truthdig_article/><ref>{{cite web |url=https://www.history.com/news/hollywood-10-biographies |last=Little |first=Becky |website=History |title=Who Were the Hollywood 10? |date=10 September 2024}}</ref>
#[[Alvah Bessie]], screenwriter
#[[Herbert Biberman]], screenwriter and director
#[[Lester Cole]], screenwriter
#[[Edward Dmytryk]], director
#[[Ring Lardner Jr.]], screenwriter
#[[John Howard Lawson]], screenwriter
#[[Albert Maltz]], screenwriter
#[[Samuel Ornitz]], screenwriter
#[[Adrian Scott]], producer and screenwriter
#[[Dalton Trumbo]], screenwriter
#[[Bertolt Brecht]], playwright and screenwriter
#[[Richard Collins (screenwriter)|Richard Collins]], screenwriter
#[[Howard E. Koch|Howard Koch]], screenwriter
#[[Gordon Kahn]], screenwriter
#[[Robert Rossen]], screenwriter and director
#[[Waldo Salt]], screenwriter
#[[Lewis Milestone]], director
#[[Irving Pichel]], actor and director
#[[Larry Parks]], actor
The HUAC claimed these men were affiliated with the CPUSA and had injected Communist propaganda into their films. Although the claims were never substantiated, the investigators demanded the individuals admit their political beliefs and name names of other Communists. Due to illnesses, scheduling conflicts, and exhaustion from the chaotic hearings, only the first eleven in the list were called to testify in October 1947. Brecht, the one foreigner in the group, pretended to cooperate and then fled for Europe. The other ten refused to answer questions about their membership in the Screen Writers Guild and Communist Party. The HUAC charged them with contempt of Congress and they were immediately blacklisted. They became known as the Hollywood Ten.<ref>{{cite encyclopedia|title=Hollywood Ten|url=https://www.britannica.com/topic/Hollywood-Ten|encyclopedia=Encyclopædia Britannica|access-date=9 December 2012|archive-date=30 December 2012|archive-url=https://web.archive.org/web/20121230123630/http://www.britannica.com/EBchecked/topic/269472/Hollywood-Ten|url-status=live}}</ref><ref>{{cite book |last=Ceplair |first=Larry |date=2011 |title=Anti-Communism in Twentieth Century America: A Critical History|location=Santa Barbara, CA | publisher=Praeger |page=77}}</ref>

In 1947, belonging to the CPUSA did not yet constitute a crime, and the committee's right to investigate people's beliefs and affiliations was questionable from the outset. As their defense, the Ten relied on the First Amendment's guarantees of freedom of speech and freedom of thought (and the right to keep one's thoughts private), but the committee charged the men with contempt of Congress for refusing to answer questions. Later defendants – except [[Pete Seeger]] – tried different strategies.<ref>{{cite book|last=Kahn |first=Gordon |date=1948 |title=Hollywood on Trial: The Story of the 10 Who Were Indicted|url=https://archive.org/details/hollywoodontrial00kahn|url-access=registration |location=New York | publisher=Boni & Gaer | pages=[https://archive.org/details/hollywoodontrial00kahn/page/69 69–71]}}</ref>

Acknowledging the potential for punishment, the Ten resisted the HUAC's authority. They yelled at the Chairman and treated the committee with open indignation. Upon receiving their contempt citations, they believed the Supreme Court would overturn the rulings, which did not turn out to be the case. As a result, they were convicted of contempt and fined $1,000 each, and served prison terms ranging from six months to one year.

[[Martin Redish]] suggests that the First Amendment's right of free expression in these cases was used more to protect the powers of the Congressional accusers than to protect the rights of the accused.<ref>{{cite book |last=Redish |first=Martin |date=2005 |title=The Logic of Persecution: Free Expression and the McCarthy Era |location=Stanford |publisher=Stanford University Press |page=132 }}</ref> After seeing the ineffectiveness of the First Amendment-based defense strategy adopted by the Hollywood Ten, later defendants opted to plead the Fifth Amendment (against self-incrimination).

Public support for the Hollywood Ten wavered, as everyday citizen-observers were never really sure what to make of them. Some of the blacklistees wrote about their experiences. John Howard Lawson, the Hollywood Ten's unofficial leader, wrote a book attacking the film industry for its capitulation to the HUAC. While mostly blaming the studio executives, he also defended himself and his colleagues, and criticized Edward Dmytryk for being the only member of the Ten to recant and cooperate with the committee.<ref>{{cite book|last=Lawson |first=John Howard |date=1953 |title=Film in the Battle of Ideas |url=https://www.thestickingplace.com/wp-content/uploads/2013/06/Lawson-Film-in-the-Battle-of-Ideas.pdf |location=New York |publisher=Masses & Mainstream |page=12 |quote=These absurdities ['red influence' over film content] were endorsed by stoolpigeon witnesses such as Dmytryk and Kazan, who eagerly testified about left-wing interference with their 'artistic integrity.'}}</ref>

In his 1981 autobiography, ''Hollywood Red'', screenwriter Lester Cole affirmed that virtually all of the Hollywood Ten had been CPUSA members at some point.<ref>{{cite book |last=Cole |first=Lester |date=1981 |title=Hollywood Red: The Autobiography of Lester Cole |page=267 |location=Palo Alto, CA |publisher=Ramparts Press |isbn=978-0878670857 }}</ref> Other members of the Hollywood Ten, such as [[Dalton Trumbo]]<ref>{{cite web|url=http://humanevents.com/2008/07/31/hollywood-still-loves-very-red-dalton-trumbo/|title=Hollywood Still Loves Very Red Dalton Trumbo – Human Events|date=31 July 2008|access-date=9 July 2014|archive-date=25 November 2020|archive-url=https://web.archive.org/web/20201125032039/https://humanevents.com/2008/07/31/hollywood-still-loves-very-red-dalton-trumbo/|url-status=dead}}</ref> and [[Edward Dmytryk]],<ref>{{cite web|url=https://www.britannica.com/EBchecked/topic/269472/Hollywood-Ten|title=Hollywood Ten – American history|access-date=2022-06-23|archive-date=2015-04-30|archive-url=https://web.archive.org/web/20150430013233/http://www.britannica.com/EBchecked/topic/269472/Hollywood-Ten|url-status=live}}</ref> publicly admitted to being Communists while testifying before the committee.

When Dmytryk wrote his memoir about the Hollywood blacklist, he denounced the Ten and defended his decision to work with the HUAC and name names. Characterizing himself as the "odd man out", he claimed to have left the Communist Party before he was subpoenaed. He condemned the Ten's legal tactic of defying Congress, and regretted staying with the group for as long as he did.<ref>{{cite book|last=Dmytryk |first=Edward |date=1953 |title=Odd Man Out: A Memoir of the Hollywood Ten |location=Carbondale, IL |publisher=Southern Illinois University Press |pages=19–21}}</ref>

===Others in 1947===
*[[Hanns Eisler]], composer<ref>Herman (1997), p. 356; Dick (1989), p. 7.</ref>
*[[Bernard Gordon (writer)|Bernard Gordon]], screenwriter<ref>Gordon (1999), p. 16.</ref>
*[[Joan LaCour Scott]], screenwriter{{sfn|Ceplair|Englund|1983|p=403}}<ref>Goldstein (1999).</ref>
*[[Irving Lerner]], editor and director<ref>Westphal, Kyle (March 25, 2013) [https://www.chicagofilmsociety.org/2013/03/25/irving-lerner-a-career-in-context/ "Irving Lerner: A Career in Context"] {{Webarchive|url=https://web.archive.org/web/20190221054739/https://www.chicagofilmsociety.org/2013/03/25/irving-lerner-a-career-in-context/ |date=2019-02-21 }} [[Chicago Film Society]]</ref>

===Between January 1948 and June 1950===
(an asterisk after the entry indicates the person was also listed in ''Red Channels'')
*[[Ben Barzman]], screenwriter{{sfn|Ceplair|Englund|1983|p=401}}
*[[Paul Draper (dancer)|Paul Draper]], actor and dancer*<ref>Everitt (2007), p. 53.</ref>
*[[Sheridan Gibney]], screenwriter{{sfn|Navasky|1980|p=88}}
*[[Paul Green (playwright)|Paul Green]], playwright and screenwriter<ref name=Ward178>Ward and Butler (2008), pp. 178–179.</ref>
*[[Lillian Hellman]], playwright and screenwriter*<ref>Newman (1989), p. 140.</ref>
*[[Canada Lee]], actor{{sfn|Horne|2006|pp=204–205, 224}}<ref>Goudsouzian (2004), p. 88.</ref>
*[[Paul Robeson]], actor and singer<ref>Gill (2000), pp. 50–52.</ref>
*[[Edwin Rolfe]], screenwriter and poet<ref>Nelson and Hendricks (1990), p. 53.</ref>
*William Sweets, radio personality*<ref>Cogley (1956), pp. 25–28.</ref>
*[[Richard Wright (author)|Richard Wright]], writer<ref name=Ward178/>

===''Red Channels'' list===
(see, e.g., Schrecker [2002], p.&nbsp;244; Barnouw [1990], pp.&nbsp;122–124)<ref>{{cite web |publisher=History on the Net |url=https://www.historyonthenet.com/authentichistory/1946-1960/4-cwhomefront/1-mccarthyism/Red_Channels/index.html |title=The Cold War Home Front: Red Channels |pages=9–160}}</ref>
{{div col|colwidth=35em}}
*[[Larry Adler]], actor and musician
*[[Luther Adler]], actor and director
*[[Stella Adler]], actress and teacher
*[[Edith Atwater]], actress
*[[Howard Bay (designer)|Howard Bay]], scenic designer
*Ralph Bell, actor
*[[Leonard Bernstein]], composer and conductor
*[[Walter Bernstein]], screenwriter<ref>{{cite magazine |title=Cables Coming in from the Cold |last1=Schneir |first1=Walter |last2=Schneir |first2=Miriam |magazine=The Nation |date=16 April 2009 |quote=Bernstein is mentioned by his real name in a single [[Venona project|Venona]] message from 1944, which states that he has 'promised to write a report on his trip.'}}</ref>
*[[Michael Blankfort]], screenwriter
*[[Marc Blitzstein]], composer
*[[True Boardman (screenwriter)|True Boardman]], screenwriter
*[[Millen Brand]], writer
*[[Oscar Brand]], folk singer
*[[Joseph Edward Bromberg]], actor
*[[Himan Brown]], producer and director
*[[John Brown (actor)|John Brown]], actor
*[[Abe Burrows]], playwright and lyricist
*[[Morris Carnovsky]], actor
*[[Vera Caspary]], writer
*[[Edward Chodorov]], screenwriter and producer
*[[Jerome Chodorov]], writer
*[[Mady Christians]], actress
*[[Lee J. Cobb]], actor
*[[Marc Connelly]], playwright
*[[Aaron Copland]], composer
*[[Norman Corwin]], writer
*[[Howard Da Silva]], actor
*[[Roger De Koven]], actor
*[[Dean Dixon]], conductor
*[[Olin Downes]], music critic
*[[Alfred Drake]], actor and singer
*[[Paul Draper (dancer)|Paul Draper]], actor and dancer
*[[Howard Duff]], actor
*[[Clifford Durr|Clifford J. Durr]], attorney
*[[Richard Dyer-Bennet]], folk singer
*[[José Ferrer]], actor
*[[Louise Fitch]], actress
*[[Martin Gabel]], actor
*[[Arthur Gaeth]], radio commentator
*[[William S. Gailmor]], journalist and radio commentator
*[[John Garfield]], actor
*[[Will Geer]], actor
*[[Jack Gilford]], actor and comedian
*[[Tom Glazer]], folk singer
*[[Ruth Gordon]], actress and screenwriter
*[[Lloyd Gough]], actor
*[[Morton Gould]], pianist and composer
*[[Shirley Graham Du Bois|Shirley Graham]], writer
*[[Ben Grauer]], radio and TV personality
*Mitchell Grayson, radio producer and director
*Horace Grenell, conductor and music producer
*[[Uta Hagen]], actress and teacher
*[[Dashiell Hammett]], writer
*[[E. Y. "Yip" Harburg]], lyricist
*Robert P. Heller, television journalist
*[[Lillian Hellman]], playwright and screenwriter
*[[Nat Hiken]], writer and producer
*[[Rose Hobart]], actress
*[[Judy Holliday]], actress and comedian
*Roderick B. Holmgren, journalist
*[[Lena Horne]], singer and actress
*[[Langston Hughes]], writer
*[[Marsha Hunt (actress, born 1917)|Marsha Hunt]], actress
*[[Leo Hurwitz]], director
*Charles Irving, actor
*[[Burl Ives]], folk singer and actor
*[[Sam Jaffe]], actor
*[[Leon Janney]], actor
*Joe Julian, actor
*[[Garson Kanin]], writer and director
*George Keane, actor
*[[Donna Keath]], radio actress
*[[Pert Kelton]], actress
*[[Alexander Kendrick]], journalist and author
*[[Adelaide Klein]], actress
*[[Felix Knight]], singer and actor
*[[Howard Koch (screenwriter)|Howard Koch]], screenwriter
*Tony Kraber, actor
*[[Millard Lampell]], screenwriter
*[[John La Touche (musician)|John La Touche]], lyricist
*[[Arthur Laurents]], writer
*[[Gypsy Rose Lee]], actress and [[ecdysiast]]
*[[Madeline Lee Gilford|Madeline Lee]], actress{{Ref_label|D|d|none}}
*[[Ray Lev]], classical pianist
*[[Philip Loeb]], actor
*[[Ella Logan]], actress and singer
*[[Alan Lomax]], folklorist and musicologist
*[[Avon Long]], actor and singer
*[[Joseph Losey]], director
*Peter Lyon, television writer
*[[Aline MacMahon]], actress
*[[Paul Mann]], director and teacher
*[[Margo (actress)|Margo]], actress and dancer
*[[Myron McCormick]], actor
*[[Paul McGrath (actor)|Paul McGrath]], radio actor
*[[Burgess Meredith]], actor
*[[Arthur Miller]], playwright
*[[Henry Morgan (comedian)|Henry Morgan]], actor
*[[Zero Mostel]], actor and comedian
*[[Jean Muir (actress)|Jean Muir]], actress
*[[Meg Mundy]], actress
*[[Lyn Murray]], composer and choral director
*Ben Myers, attorney
*[[Dorothy Parker]], writer
*[[Arnold Perl]], producer and writer
*[[Minerva Pious]], actress
*[[Samson Raphaelson]], screenwriter and playwright
*Bernard Reis, accountant
*[[Anne Revere]], actress
*[[Kenneth Roberts (author)|Kenneth Roberts]], writer
*[[Earl Robinson]], composer and lyricist
*[[Edward G. Robinson]], actor
*[[William N. Robson]], radio and TV writer
*[[Harold Rome]], composer and lyricist
*[[Norman Rosten]], writer
*[[Selena Royle]], actress
*Coby Ruskin, TV director
*[[Robert William St. John|Robert St. John]], journalist, broadcaster
*[[Hazel Scott]], jazz and classical musician
*[[Pete Seeger]], folk singer
*[[Lisa Sergio]], radio personality
*[[Artie Shaw]], jazz musician
*[[Irwin Shaw]], writer
*[[Robert Lewis Shayon]], former president of radio and TV directors' guild
*[[Ann Shepherd]], actress
*[[William L. Shirer]], journalist, broadcaster
*[[Allan Sloane]], radio and TV writer
*[[Howard K. Smith]], journalist, broadcaster
*[[Gale Sondergaard]], actress
*[[Hester Sondergaard]], actress
*[[Lionel Stander]], actor
*[[Johannes Steele]], journalist, radio commentator
*[[Paul Stewart (actor)|Paul Stewart]], actor
*[[Elliott Sullivan]], actor
*William Sweets, radio personality
*[[Helen Tamiris]], choreographer
*[[Betty Todd]], director
*[[Louis Untermeyer]], poet
*[[Hilda Vaughn]], actress
*J. Raymond Walsh, radio commentator
*[[Sam Wanamaker]], actor
*[[Theodore Ward]], playwright
*[[Fredi Washington]], actor
*[[Margaret Webster]], actress, director and producer
*[[Orson Welles]], actor, writer and director
*[[Josh White]], blues musician
*[[Irene Wicker]], singer and actress
*[[Betty Winkler|Betty Winkler (Keane)]], actress
*Martin Wolfson, actor
*[[Lesley Woods]], actor
*[[Richard Yaffe]], journalist, broadcaster
{{div col end}}

===After June 1950===
{{Div col|colwidth=22em}}
*[[Eddie Albert]], actor<ref>Buhle and Wagner (2003b), p. 188.</ref>
*Lew Amster, screenwriter<ref name=BWb28>Buhle and Wagner (2003b), p. 28.</ref>
*[[Richard Attenborough]], actor, director and producer<ref>Buhle and Wagner (2003b), p. 253.</ref>
*[[Norma Barzman]], screenwriter<ref>Buhle and Wagner (2003b), p. 159.</ref>
*Sol Barzman, screenwriter<ref>Buhle and Wagner (2003b), p. 146.</ref>
*[[Orson Bean]], actor<ref>Faulk (1963), p. 7.</ref>
*Albert Bein, screenwriter<ref name=BWb28/>
*[[Harry Belafonte]], actor and singer<ref>McGill (2005), pp. 249–250; Ward (1998), p. 323; Cogley (1956), pp. 8–9.</ref>
*[[Barbara Bel Geddes]], actress<ref>Katz (1994), p. 106.</ref>
*Ben Bengal, screenwriter<ref>Buhle and Wagner (2003b), p. 50.</ref>
*[[Seymour Bennett]], screenwriter<ref>Buhle and Wagner (2003b), p. 123.</ref>
*[[Leonardo Bercovici]], screenwriter<ref name="Buhle and Wagner 2003b, p. 21"/>
*[[Herschel Bernardi]], actor{{sfn|Buhle|Wagner|2003a|p=42}}
*[[John Berry (film director)|John Berry]], actor, screenwriter and director<ref>Denning (1998), p. 374; Buhle and Wagner (2003a), p. 108.</ref>
*[[Henry Blankfort]], screenwriter<ref name=BWb31>Buhle and Wagner (2003b), p. 31.</ref>
*Laurie Blankfort, artist<ref name=BWb31/>
*[[Roman Bohnen]], actor<ref name="Buhle and Wagner 2003b, p. 49">Buhle and Wagner (2003b), p. 49.</ref>
*[[Allen Boretz]], screenwriter and songwriter<ref>Buhle and Wagner (2003b), p. 83.</ref>
*[[Phoebe Brand]], actress<ref>Schwartz, J. (1999); Buhle and Wagner (2003a), p. 50.</ref>
*[[John Bright (screenwriter)|John Bright]], screenwriter<ref>Buhle and Wagner (2003b), p. 2.</ref>
*[[Phil Brown (actor)|Phil Brown]], actor<ref>Barzman (2004), p. 449.</ref>
*[[Harold Buchman]], screenwriter<ref name="Buhle and Wagner 2003b, p. 22">Buhle and Wagner (2003b), p. 22.</ref>
*[[Sidney Buchman]], screenwriter{{sfn|Buhle|Wagner|2003a|p=128}}
*[[Luis Buñuel]], director<ref name="BWb6"/>
*Val Burton, screenwriter<ref name="Buhle and Wagner 2003b, p. 17">Buhle and Wagner (2003b), p. 17.</ref>
*[[Hugo Butler]], screenwriter{{sfn|Buhle|Wagner|2003a|p=22}}
*[[Alan Campbell (screenwriter)|Alan Campbell]], screenwriter<ref>Buhle and Wagner (2003b), p. 129.</ref><ref>{{cite news |url=https://www.nytimes.com/2018/09/07/books/review/dorothy-parker-alan-campbell.html |title=The Literati: Mr. and Mrs. Dorothy Parker's Arrival in Hollywood |last=Sorel |first=Edward |newspaper=The New York Times |date=7 September 2018}}</ref>
*[[Cliff Carpenter]], actor<ref>{{cite news |newspaper=The Hollywood Reporter |last=Feinberg |first=Scott |title=Blacklisted: Cliff Carpenter & Jean Rouverol |date=17 November 2012 |url=https://www.hollywoodreporter.com/movies/movie-news/blacklisted-cliff-carpenter-jean-rouverol-391764/}}</ref>
*[[Charles Chaplin|Charlie Chaplin]], actor, director and producer<ref>Katz (1994), p. 241.</ref>
*Maurice Clark, screenwriter{{sfn|Navasky|1980|p=283}}
*[[Richard J. Collins|Richard Collins]], screenwriter{{sfn|Buhle|Wagner|2003a|p=73}}
*[[Charles Collingwood (journalist)|Charles Collingwood]], radio commentator<ref>Faulk (1963), pp. 7–8.</ref>
*[[Dorothy Comingore]], actress<ref>Denning (1998), p. 374; Buhle and Wagner (2003b), p. 20.</ref>
*George Corey, screenwriter<ref>Buhle and Wagner (2003b), p. 151.</ref>
*[[Irwin Corey]], actor and comedian<ref>Sullivan (2010), p. 64.</ref>
*[[Jeff Corey]], actor{{sfn|Buhle|Wagner|2003a|p=77}}
*[[Oliver Crawford]], screenwriter<ref>''Times'' (London) (2008).</ref>
*[[John Cromwell (director)|John Cromwell]], director<ref>{{cite book |last1=Canham |first1=Kingsley |last2=Denton |first2=Clive |year=1976 |title=The Hollywood Professionals, Volume 5: King Vidor, John Cromwell, Mervyn LeRoy |publisher=Tantivy Press; A. S. Barnes |location=London |isbn=0-904-20811-7 |page=104}} Cromwell's name was "mentioned several times during the [HUAC] hearings."</ref>
*Charles Dagget, animator{{sfn|Cohen|2004|p=178}}{{Ref_label|E|e|none}}
*[[Danny Dare]], choreographer<ref>Boyer (1996); Cogley (1956), p. 124.</ref>{{Ref_label|F|f|none}}
*[[Jules Dassin]], director{{sfn|Buhle|Wagner|2003a|p=105}}
*[[Ossie Davis]], actor<ref>{{Cite web |url=http://capitolwords.org/date/2005/02/09/H472_honoring-the-life-and-accomplishments-of-the-late-/ |title=Honoring the Life and Accomplishments of the Late Ossie Davis &#124; Capitol Words |access-date=2013-02-15 |archive-url=https://archive.today/20130414131517/http://capitolwords.org/date/2005/02/09/H472_honoring-the-life-and-accomplishments-of-the-late-/ |archive-date=2013-04-14 |url-status=dead }}</ref>
*[[Ruby Dee]], actress<ref>{{cite web|url=http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/dee1.html|title=Extravagant Crowd – Ruby Dee|website=brbl-archive.library.yale.edu|access-date=2013-02-15|archive-date=2013-05-18|archive-url=https://web.archive.org/web/20130518204408/http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/dee1.html|url-status=live}}</ref>
*[[Dolores del Río]], actress<ref>Ramón (1997), p. 44.</ref>
*[[Karen DeWolf]], screenwriter<ref name="Buhle and Wagner 2003b, p. 5">Buhle and Wagner (2003b), p. 5.</ref>
*Howard Dimsdale, writer{{sfn|Buhle|Wagner|2003a|p=250}}
*[[Ludwig Donath]], actor<ref name="Buhle and Wagner 2003b, p. 49"/>
*[[Arnaud d'Usseau]], screenwriter{{sfn|Buhle|Wagner|2003a|p=83}}
*[[P. D. Eastman|Phil Eastman]], cartoon writer{{sfn|Cohen|2004|pp=178-181}}
*[[Leslie Edgley]], screenwriter{{sfn|Navasky|1980|p=282}}
*[[Edward Eliscu]], screenwriter<ref name=BWb7>Buhle and Wagner (2003b), p. 7.</ref>
*Faith Elliott, animator<ref>Barzman (2004), p. 89.</ref>
*[[Cy Endfield]], screenwriter and director{{sfn|Buhle|Wagner|2003a|p=137}}
*[[Guy Endore]], screenwriter{{sfn|Buhle|Wagner|2003a|p=83}}
*[[Francis Edward Faragoh]], screenwriter<ref>Buhle and Wagner (2003b), p. 14.</ref>
*[[Frances Farmer]], actress<ref>{{cite news |last=Johnson |first=Allan |url=https://www.chicagotribune.com/1996/02/27/climate-of-fear/ |title=Climate Of Fear: 'Blacklist' Chronicles Careers, Lives Trashed During Witch Hunts For Communists |newspaper=Chicago Tribune |date=February 27, 1996 |access-date=2012-12-09 |archive-date=2013-05-21 |archive-url=https://web.archive.org/web/20130521193354/http://articles.chicagotribune.com/1996-02-27/features/9602270322_1_blacklist-chairman-j-parnell-thomas-communist-party |url-status=live }}</ref>
*[[Howard Fast]], writer{{sfn|Buhle|Wagner|2003a|p=48}}
*[[John Henry Faulk]], radio personality<ref>Faulk (1963), pp. 6–7.</ref>
*[[Jerry Fielding]], composer<ref name="Burlingame 2000 74"/>
*[[Carl Foreman]], producer and screenwriter{{sfn|Buhle|Wagner|2003a|p=xi}}
*[[Anne Froelick]], screenwriter{{sfn|Buhle|Wagner|2003a|p=250}}
*Lester Fuller, director<ref>Buhle and Wagner (2003b), p. 251.</ref>
*Bert Gilden, screenwriter<ref>Buhle and Wagner (2003b), p. 105.</ref>
*Lee Gold, screenwriter{{sfn|Buhle|Wagner|2003a|p=139}}
*Harold Goldman, screenwriter<ref>Buhle and Wagner (2003b), p. 16.</ref>
*[[Michael Gordon (film director)|Michael Gordon]], director<ref>Dick (1982), p. 80.</ref>
*[[Jay Gorney]], screenwriter<ref>Buhle and Wagner (2003b), p. 96.</ref>
*[[Lee Grant]], actress{{sfn|Buhle|Wagner|2003a|p=31}}
*Morton Grant, screenwriter<ref name="Buhle and Wagner 2003b, p. 13">Buhle and Wagner (2003b), p. 13.</ref>
*Anne Green, screenwriter<ref>Buhle and Wagner (2003b), p. 95.</ref>
*Jack T. Gross, producer<ref name="Buhle and Wagner 2003b, p. 37">Buhle and Wagner (2003b), p. 37.</ref>
*Margaret Gruen, screenwriter<ref>Buhle and Wagner (2003b), p. 164.</ref>
*[[David Hilberman]], animator{{sfn|Cohen|2004|pp=172–176}}
*Tamara Hovey, screenwriter<ref name="BWb15"/>
*[[John Hubley]], animator{{sfn|Cohen|2004|pp=178, 181–183}}
*[[Edward Huebsch]], screenwriter<ref name="Buhle and Wagner 2003b, p. 18">Buhle and Wagner (2003b), p. 18.</ref>
*[[Ian McLellan Hunter]], screenwriter{{sfn|Buhle|Wagner|2003a|p=86}}
*[[Kim Hunter]], actress{{sfn|Buhle|Wagner|2003a|p=viii}}
*[[John Ireland (actor)|John Ireland]], actor<ref name="Doherty 2003, p. 236"/>
*Daniel James, screenwriter{{sfn|Buhle|Wagner|2003a|p=80}}
*[[Paul Jarrico]], producer and screenwriter{{sfn|Buhle|Wagner|2003a|p=134}}
*[[Gordon Kahn]], screenwriter{{sfn|Buhle|Wagner|2003a|p=250}}
*[[Victor Kilian]], actor<ref>Graulich and Tatum (2003), p. 115.</ref>
*[[Sidney Kingsley]], playwright<ref>Zecker (2007), p. 106.</ref>
*[[Alexander Knox]], actor<ref>Buhle and Wagner (2003b), p. 194.</ref>
*[[Mickey Knox (actor)|Mickey Knox]], actor<ref>Buhle and Wagner (2003b), p. 106.</ref>
*[[Lester Koenig]], film/record producer<ref>Herman (1997), p. 356.</ref>
*[[Charles Korvin]], actor<ref>Korvin (1997).</ref>
*[[Hy Kraft]], screenwriter<ref>Buhle and Wagner (2003b), p. 39.</ref>
*[[Connie Lee|Constance Lee]], screenwriter<ref>Buhle and Wagner (2003b), p. 24.</ref>
*[[Will Lee]], actor and comic
*[[Robert Lees]], screenwriter{{sfn|Buhle|Wagner|2003a|p=86}}
*Carl Lerner, editor and director{{sfn|Buhle|Wagner|2003a|p=150}}
*[[Irving Lerner]], director<ref>Buhle and Wagner (2003b), p. 53.</ref>
*[[Sam Levene]], actor<ref>{{cite book|url=https://books.google.com/books?id=bXSdUTdA_dUC&pg=PA163|title=Zero Dances: A Biography of Zero Mostel|first=Arthur|last=Sainer|year=1998|publisher=Hal Leonard Corporation|isbn=9780879100964|via=Google Books}}</ref>
*Lewis Leverett, actor<ref name="Schwartz 1999">Schwartz (1999).</ref>
*[[Alfred Lewis Levitt]], screenwriter{{sfn|Buhle|Wagner|2003a|p=130}}
*[[Helen Slote Levitt]], screenwriter{{sfn|Buhle|Wagner|2003a|p=130}}
*Mitch Lindemann, screenwriter<ref name="Buhle and Wagner 2003b, p. 37"/>
*[[Norman Lloyd]], actor<ref>Denning (1998), p. 374</ref>
*[[Ben Maddow]], screenwriter{{sfn|Buhle|Wagner|2003a|p=110}}
*[[Arnold Manoff]], screenwriter{{sfn|Buhle|Wagner|2003a|p=20}}
*[[William Marshall (actor)|William Marshall]], actor<ref>{{cite web | url=https://www.flickr.com/photos/vieilles_annonces/3658602766 | title=Actor William Marshall Accused of Being a Communist |via=Jet Magazine, January 21, 1954 | date=August 2009 | access-date=May 7, 2023 | archive-date=May 7, 2023 | archive-url=https://web.archive.org/web/20230507001412/https://www.flickr.com/photos/vieilles_annonces/3658602766 | url-status=live }}</ref>
*[[John McGrew]], animator{{sfn|Cohen|2004|pp=172-178}}
*[[Ruth McKenney]], writer<ref>Buhle and Wagner (2003b), p. 142.</ref>
*[[Bill Melendez]], animator{{sfn|Cohen|2004|pp=178–179, 186}}
*John "Skins" Miller, actor<ref>Buhle and Wagner (2003b), p. 8.</ref>
*Paula Miller, actress<ref name="Schwartz 1999"/>
*Josef Mischel, screenwriter<ref>Buhle and Wagner (2003b), p. 110.</ref>
*[[Karen Morley]], actress<ref>Buhle and Wagner (2003b), p. 78.</ref>
*Henry Myers, screenwriter{{sfn|Buhle|Wagner|2003a|p=26}}
*[[Mortimer Offner]], screenwriter<ref name=BWb7/>
*Alfred Palca, writer and producer{{sfn|Buhle|Wagner|2003a|p=157}}
*[[Larry Parks]], actor{{sfn|Navasky|1980|pp=371–373}}
*[[Leo Penn]], actor{{sfn|Buhle|Wagner|2003a|p=45}}
*[[George Pepper (film producer)]]{{sfn|Ceplair|Englund|1983|p=218}}
*Jeanette Pepper, economist <ref>{{cite web|url=http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=jeanette-m-gillerman-pepper-bello&pid=183281999|title=Jeanette M. Gillerman Pepper Bello's Obituary on New York Times|website=The New York Times|access-date=2018-01-09|archive-date=2017-08-15|archive-url=https://web.archive.org/web/20170815024442/http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=jeanette-m-gillerman-pepper-bello&pid=183281999|url-status=live}}</ref>
*[[Irving Pichel]], actor and director<ref>Buhle and Wagner (2003b), p. 10.</ref>
*Louis Pollock, screenwriter{{sfn|Ceplair|Englund|1983|p=388}}
*[[Abraham Polonsky]], screenwriter and director<ref name="Buhle and Wagner 2003b, p. 13"/>
*[[William Pomerance]], animation executive{{sfn|Cohen|2004|pp=172-176}}
*[[Vladimir Pozner (writer)|Vladimir Pozner]], screenwriter<ref name=BWb11>Buhle and Wagner (2003b), p. 11.</ref>
*[[Stanley Prager]], director<ref name=BWb15>Buhle and Wagner (2003b), p. 15.</ref>
*[[John Randolph (actor)|John Randolph]], actor{{sfn|Buhle|Wagner|2003a|p=247}}
*[[Maurice Rapf]], screenwriter<ref>Buhle and Wagner (2003b), p. 163.</ref>
*[[Rosaura Revueltas]], actress{{sfn|Buhle|Wagner|2003a|p=253}}
*[[Robert L. Richards]], screenwriter{{sfn|Buhle|Wagner|2003a|p=80}}
*Frederic I. Rinaldo, screenwriter<ref>Buhle and Wagner (2003b), p. 1.</ref>
*[[Martin Ritt]], actor and director{{sfn|Buhle|Wagner|2003a|p=18}}
*W. L. River, screenwriter<ref name="Buhle and Wagner 2003b, p. 5"/>
*[[Marguerite Roberts]], screenwriter{{sfn|Buhle|Wagner|2003a|p=88}}
*David Robison, screenwriter<ref name=Lerner03>Lerner (2003), pp. 337–338.</ref>
*Naomi Robison, actress<ref name=Lerner03/>
*[[Louise Rousseau]], screenwriter<ref name=BWb6>Buhle and Wagner (2003b), p. 6.</ref>
*[[Jean Rouverol|Jean Rouverol (Butler)]], actress and writer{{sfn|Buhle|Wagner|2003a|p=142}}
*Shimen Ruskin, actor{{sfn|Navasky|1980|p=282}}
*[[Madeleine Ruthven]], screenwriter<ref>Buhle and Wagner (2003b), p. 55.</ref>
*[[Waldo Salt]], screenwriter{{sfn|Buhle|Wagner|2003a|p=208}}
*[[John Sanford (1904–2003)|John Sanford]], screenwriter<ref>Buhle and Wagner (2003b), p. 101.</ref>
*[[Bill Scott (voice actor)|Bill Scott]], voice actor and producer{{sfn|Cohen|2004|p=178}}
*[[Martha Scott]], actress{{sfn|Ceplair|Englund|1983|p=388}}
*[[Robert Shayne]], actor
*[[Joshua Shelley]], actor{{sfn|Buhle|Wagner|2003a|p=45}}
*[[Madeleine Sherwood]], actress<ref>Perebinossoff, Gross, and Gross (2005), p. 9; Kisseloff (1995), p. 416.</ref>
*[[Reuben Ship]], screenwriter<ref>Buhle and Wagner (2003b), p. 218.</ref>
*[[Viola Brothers Shore]], screenwriter<ref name=BWb11/>
*[[Hilda Simms]], actress
*[[George Sklar]], playwright<ref name=BWb6/>
*[[Art Smith (actor)|Art Smith]], actor<ref name="Schwartz 1999"/>
*Louis Solomon, screenwriter and producer{{sfn|Buhle|Wagner|2003a|p=63}}
*[[Ray Spencer]], screenwriter<ref name="Buhle and Wagner 2003b, p. 37"/>
*[[Janet Stevenson]], writer<ref name="Buhle and Wagner 2003b, p. 49"/>
*[[Philip Stevenson]], writer<ref name="Buhle and Wagner 2003b, p. 49"/>
*[[Donald Ogden Stewart]], screenwriter{{sfn|Buhle|Wagner|2003a|p=36}}
*Arthur Strawn, screenwriter{{sfn|Buhle|Wagner|2003a|p=91}}
*[[Bess Taffel]], screenwriter<ref name=BWb15/>
*Julius Tannenbaum, producer<ref name="Buhle and Wagner 2003b, p. 22"/>
*[[Frank Tarloff]], screenwriter{{sfn|Buhle|Wagner|2003a|p=175}}
*Shepard Traube, director and screenwriter<ref name="Buhle and Wagner 2003b, p. 17"/><ref name="nytimes-shepard-traube-76">{{cite web |last1=Fraser |first1=C. Gerald |title=Shepard Traube, 76, Is Dead; Stage Producer and Director |url=https://www.nytimes.com/1983/07/25/obituaries/shepard-traube-76-is-dead-stage-producer-and-director.html |website=The New York Times |date=25 July 1983}}</ref>
*[[Dorothy Tree]], actress<ref>Buhle and Wagner (2003b), p. 47.</ref>
*Paul Trivers, screenwriter<ref>Buhle and Wagner (2003b), p. 141.</ref>
*[[George Tyne]], actor{{sfn|Buhle|Wagner|2003a|p=45}}
*Michael Uris, writer<ref>Buhle and Wagner (2003b), p. 90.</ref>
*[[Peter Viertel]], screenwriter{{sfn|Navasky|1980|pp=93-94}}
*[[Salka Viertel]], screenwriter and actress<ref>{{cite web |title=Salka Viertel |publisher=[[IMDb]] |url=https://m.imdb.com/name/nm0826554/trivia/?ref_=nmbio_ql_2}}</ref>
*[[Bernard Vorhaus]], director<ref>Buhle and Wagner (2003b), p. 9.</ref>
*John Weber, producer<ref>Buhle and Wagner (2003b), p. 209.</ref>
*Richard Weil, screenwriter<ref name="Buhle and Wagner 2003b, p. 18"/>
*[[Hannah Weinstein]], producer<ref>Buhle and Wagner (2003b), p. 66.</ref>
*[[Haskell Wexler]], cinematographer<ref>{{cite web |title=Bid fails to remove IATSE blacklist rules |last=McNary |first=Dave |url=https://variety.com/2001/biz/news/bid-fails-to-remove-iatse-blacklist-rules-1117802872/ |website=Variety |date=July 16, 2001}}</ref>
*[[John Wexley]], screenwriter{{sfn|Buhle|Wagner|2003a|p=111}}
*[[Michael Wilson (writer)|Michael Wilson]], screenwriter{{sfn|Buhle|Wagner|2003a|p=vii}}
*[[Nedrick Young]], actor and screenwriter{{sfn|Buhle|Wagner|2003a|p=248}}
*Julian Zimet, screenwriter{{sfn|Buhle|Wagner|2003a|p=83}}
{{div col end}}

==See also==
* [[Joseph McCarthy]]

==References==
'''Informational notes'''
{{refbegin}}
<ol type="a">
<li>{{Note label|A|a|none}} The following transcript excerpt from the interrogation of screenwriter [[John Howard Lawson]] by HUAC chairman [[J. Parnell Thomas]] gives an example of the tenor of some of the exchanges:

<blockquote>
Thomas: Are you a member of the Communist Party, or have you ever been a member of the Communist Party?<br>
Lawson: It is unfortunate and tragic that I have to teach this committee the basic principles of American—<br>
Thomas: (pounding gavel) That is not the question. That is not the question. The question is: Have you ever been a member of the Communist Party?<br>
Lawson: I am framing my answer in the only way in which any American citizen can frame his answer to a question which absolutely invades his rights.<br>
Thomas: Then you refuse to answer that question; is that correct?<br>
Lawson: I have told you that I will offer my beliefs, affiliations, and everything else to the American public, and they will know where I stand.<br>
Thomas: (pounding gavel) Excuse the witness—<br>
Lawson: As they do from what I have written.<br>
Thomas: (pounding gavel) Stand away from the stand—<br>
Lawson: I have written Americanism for many years, and I shall continue to fight for the Bill of Rights, which you are trying to destroy.<br>
Thomas: Officer, take this man away from the stand—<br>
[Applause and boos.]<ref>{{cite book |title=Hearings Regarding the Communist Infiltration of the Motion-Picture-Industry Activities in the United States (Second Week) (1947) |chapter=Testimony of John Howard Lawson |url=https://www.csus.edu/indiv/c/craftg/histhrs%20169/lawson.pdf |pages=518–519 |via=Sacramento State University}}</ref><ref>{{cite web |url=https://historymatters.gmu.edu/d/6441 |title='They Want to Muzzle Public Opinion': John Howard Lawson's Warning to the American Public |website=History Matters |publisher=George Mason University |date=22 March 2018}}</ref>
</blockquote></li>
<li>{{Note label|B|b|none}} At least a couple of recent histories incorrectly give December 3 as the date of the Waldorf Statement: Ross (2002), p.&nbsp;217; Stone (2004), p.&nbsp;365. Among the many 1947 sources that establish the correct date, there is a ''New York Times'' article with the lengthy title, "Movies to Oust Ten Cited For Contempt of Congress; Major Companies Also Vote to Refuse Jobs to Communists – 'Hysteria, Surrender of Freedom' Charged by Defense Counsel; Movies Will Oust Ten Men Cited for Contempt of Congress After Voting to Refuse Employment to Communists", which appeared on the newspaper's front page on November 26.<ref>{{cite news |url=https://www.nytimes.com/1947/11/26/archives/movies-to-oust-ten-cited-for-contempt-of-congress-major-companies.html |title=Movies to Oust Ten Cited For Contempt of Congress |newspaper=The New York Times |date=26 November 1947}}</ref></li>
<li>{{Note label|C|c|none}} To illustrate how arbitrary the blacklist could be, Victor Navasky relates what happened to screenwriter [[Michael Blankfort]]. He had contributed to the ''Daily Worker'' and was named as a Communist by [[Louis Budenz]]. But because Blankfort insisted during his testimony that he never joined the CPUSA, he told the committee he had no names to give them. But he was friendly and cooperative in all other ways. He was excused without being thanked. His lawyer [[Martin Gang]] immediately went up to the chairman of the hearing, [[Francis E. Walter|Francis Walter]], and said he had forgotten to thank Blankfort. As Blankfort recalls, "Walter called the court reporter of the Committee over and told him to put in a thank you so that I could be clear of the blacklist, and that's what he put down." As a result of this one insertion in the [[Congressional Record]], Blankfort was never blacklisted and in fact served as a "front" for Albert Maltz's Academy Award-nominated screenplay for [[Broken Arrow (1950 film)|Broken Arrow]] (1950).{{sfn|Navasky|1980|pp=101–102}}</li>
<li>{{Note label|D|d|none}} Madeline Lee – who was married to actor Jack Gilford, also listed by ''Red Channels'' – was frequently confused with another actress of the era named [[Madaline Lee]].<ref>Cook (1971), p. 13.</ref></li>
<li>{{Note label|E|e|none}} Four months after refusing to cooperate with HUAC, Dagget appeared again before the committee and named names.{{sfn|Cohen|2004|p=179}}</li>
<li>{{Note label|F|f|none}} In 1951, Dare appeared before HUAC, lied about having never been a Communist, and continued to work in the entertainment industry. He was blacklisted two years later for his involvement in ''Meet the People'', a 1939 theatrical production. Soon afterward, he recanted his earlier testimony and named names.<ref>Boyer (1996); Navasky (1980), p. 74; Cogley (1956), p. 124.</ref></li>
</ol>
{{refend}}

'''Citations'''
{{Reflist}}

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{{Refend}}

'''Further reading'''
*Berg, Sandra (2006). "When Noir Turned Black" (interview with [[Jules Dassin]]), ''Written By'' (November) (available [https://web.archive.org/web/20070927015754/http://www.wga.org/writtenby/writtenbysub.aspx?id=2247 online] [https://web.archive.org/web/20130518192152/http://www.wga.org/writtenby/writtenbysub.aspx?id=2247 Archived version of May 2013]).
*Bernstein, Walter (2000). ''Inside Out: A Memoir of the Blacklist''. New York: Da Capo. {{ISBN|0-306-80936-2}}
*Briley, Ronald (1994). "Reel History and the Cold War", ''OAH Magazine of History'' 8 (winter) (available [https://web.archive.org/web/20061027052439/http://www.oah.org/pubs/magazine/coldwar/briley1.html online] [https://web.archive.org/web/20030101143557/http://www.oah.org/pubs/magazine/coldwar/briley1.html Archived version of Jan.2003]).
*Caballero, Raymond. ''McCarthyism vs. Clinton Jencks.'' Norman: University of Oklahoma Press, 2019. {{ISBN|978-0806163970}}
*Georgakas, Dan (1992). "Hollywood Blacklist", in ''Encyclopedia of the American Left'', ed. [[Mari Jo Buhle]], [[Paul Buhle]], and [[Dan Georgakas]]. Urbana and Chicago: University of Illinois Press (available [https://www.writing.upenn.edu/~afilreis/50s/blacklist.html online]). {{ISBN|0-252-06250-7}}
*Kahn, Gordon (1948). ''Hollywood on Trial: The Story of the 10 Who Were Indicted''. New York: Boni & Gaer. {{ISBN|0-405-03921-2}}
*Leab, Daniel J., with guide by Robert E. Lester (1991). ''Communist Activity in the Entertainment Industry: FBI Surveillance Files on Hollywood, 1942–1958''. Bethesda, Maryland: University Publications of America (available [https://www.lexisnexis.com/documents/academic/upa_cis/1708_FBIFilesCommActsEntertain.pdf online]). {{ISBN|1-55655-414-1}}
*Murray, Lawrence L. (1975). "Monsters, Spys, and Subversives: The Film Industry Responds to the Cold War, 1945–1955", ''Jump Cut'' 9 (available [https://www.ejumpcut.org/archive/onlinessays/JC09folder/ColdWarFilms.html online]).
*Nizer, Louis. (1966). ''The Jury Returns''. New York: Doubleday & Co. {{ISBN|978-0-671-12505-9}}
*"Seven-Year Justice", ''[[Time (magazine)|Time]]'', July 6, 1962 (available [https://web.archive.org/web/20090504194218/http://www.time.com/time/magazine/article/0,9171,940029,00.html online]).
*Stabile, Carol A. (2018). ''The Broadcast 41: Women and the Anti-Communist Blacklist''. London: Goldsmiths Press. {{isbn|978-1906897864}}
*Vaughn, Robert. (2004). ''Only Victims: A Study of Show Business Blacklisting''. New York: Limelight Editions. (Originally published New York: Putnam, 1972). {{ISBN|978-0-87910-081-0}}

==External links==
*[http://wps.prenhall.com/wps/media/objects/108/110880/ch26_a5_d1.pdf Albert Maltz's HUAC Testimony] {{Webarchive|url=https://web.archive.org/web/20050515104019/http://wps.prenhall.com/wps/media/objects/108/110880/ch26_a5_d1.pdf |date=2005-05-15}} transcript of the writer's testimony (preceded by excerpts of actor Ronald Reagan's testimony – see below for link to complete Reagan transcript).
*[https://web.archive.org/web/20071015082054/http://twcnet.edu/cschutz/history-page/Consensus/Reagan-huac-testimony.html Ronald Reagan's HUAC Testimony] transcript of the actor's testimony of October 23, 1947. ([https://web.archive.org/web/20041124000508/http://www.twcnet.edu/cschutz/history-page/Consensus/Reagan-huac-testimony.html Archived version of Nov. 2004])
*[https://www.writing.upenn.edu/~afilreis/50s/congcomms.html "Congressional Committees and Unfriendly Witnesses"] detailed examination of legal issues involved in HUAC proceedings by historian Ellen Schrecker.
*[https://ccrjustice.org/home/press-center/press-releases/mccarthy-era-blacklist-victims-peace-groups-academics-and-media "McCarthy Era Blacklist Victims, Peace Groups, Academics, and Media File Amicus Briefs in CCR Case"] news release focused on 2009 brief filed by former blacklistees including [[Irwin Corey]] in ''[[Holder v. Humanitarian Law Project]]'' Supreme Court free speech case.
*[https://www.pbs.org/newshour/bb/entertainment/july-dec97/blacklist_10-24.html "Seeing Red"] {{Webarchive|url=https://web.archive.org/web/20140122002243/http://www.pbs.org/newshour/bb/entertainment/july-dec97/blacklist_10-24.html |date=2014-01-22 }} transcript of excerpts from PBS documentary ''The Legacy of the Hollywood Blacklist'' and interview by ''[[The NewsHour with Jim Lehrer|NewsHour]]'' correspondent Elizabeth Farnsworth with two blacklisted artists, writer/producer [[Paul Jarrico]] and actress [[Marsha Hunt (actress, born 1917)|Marsha Hunt]].
*[https://archive.org/details/FBI-Communist-Infiltration-Motion-Picture-Industry FBI Documents on Communist Infiltration – Motion Picture Industry (COMPIC)]
*[http://oralhistory.library.ucla.edu/viewItem.do?ark=21198/zz000905wx&title=%20Hollywood%20Blacklist Hollywood Blacklist] {{Webarchive|url=https://web.archive.org/web/20160127032924/http://oralhistory.library.ucla.edu/viewItem.do?ark=21198%2Fzz000905wx&title=%20Hollywood%20Blacklist |date=2016-01-27 }}, series of interviews and transcripts (many online) from Center for Oral History Research, UCLA Library Special Collections, University of California, Los Angeles.

{{Hollywood Ten}}

{{DEFAULTSORT:Hollywood Blacklist}}
[[Category:Hollywood blacklist| ]]
[[Category:History of Hollywood, Los Angeles]]
[[Category:History of film]]
[[Category:McCarthyism]]
[[Category:Political and cultural purges]]
[[Category:Political repression in the United States]]
[[Category:Cinema of Southern California]]
[[Category:Cinema of the United States]]
[[Category:Film and video terminology]]
[[Category:1940s in American cinema]]
[[Category:1950s in American cinema]]
[[Category:Anti-communism in the United States]]
[[Category:Victims of McCarthyism]]