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The First Wave of American “Holocaust” Films, 1945–1959

01 Feb 2010-The American Historical Review (Oxford University Press)-Vol. 115, Iss: 1, pp 90-114
About: This article is published in The American Historical Review.The article was published on 2010-02-01. It has received 14 citations till now. The article focuses on the topics: The Holocaust.
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01 Sep 2004
TL;DR: A Tree Grows in Brooklyn as mentioned in this paper is a classic story about a working-class family in the early 1930s, and it was adapted for TV by Lillian Smith and Lola Hansberry.
Abstract: Acknowledgments Part 1. Ordinary Families, Popular Culture, and Popular Democracy, 1935-1945 Radio's Formula Drama Popular Theater and Popular Democracy Popular Democracy on the Radio Popular Democracy in Wartime: Multiethnic and Multiracial? Representing the Soldier The New World of the Home Front Soldiers as Veterans: Imagining the Postwar World Looking Back Stories Part 2. Making the Working-Class Family Ordinary: A Tree Grows in Brooklyn From Working-Class Daughter to Working-Class Writer Revising 1930s Radical Visions Remembering a Working-Class Past Instructing the Middle Class The Ethnic and Racial Boundaries of the Ordinary Making Womanhood Ordinary Hollywood Revises A Tree Grows in Brooklyn The Declining Appeal of Tree's Social Terrain Part 3. Home Front Harmony and Remembering Mama "Mama's Bank Account" and Other Ethnic Working-Class Fictions Remembering Mama on the Stage The Mother Next Door on Film, 1947-1948 Mama on CBS, 1949-1956 The Appeal of TV Mama's Ordinary Family "Trading Places" Stories Part 4. Loving Across Prewar Racial and Sexual Boundaries Lillian Smith and Strange Fruit Quality Reinstates the Color Line Strange Fruit as Failed Social Drama The Returning Negro Soldier, Interracial Romance, and Deep Are the Roots Interracial Male Homosociability in Home of the Brave Part 5. "Seeing Through" Jewishness Perception and Racial Boundaries in Focus Policing Racial and Gender Boundaries in The Brick Foxhole Recasting the Victim in Crossfire Deracializing Jewishness in Gentleman's Agreement Part 6. Hollywood Makes Race (In)Visible "A Great Step Forward": The Film Home of the Brave Lost Boundaries: Racial Indeterminacy as Whiteness Pinky: Racial Indeterminacy as Blackness Trading Places or No Way Out? Everyman Stories Part 7. Competing Postwar Representations of Universalism The "Truly Universal People": Richard Durham's Destination Freedom The Evolution of Arthur Miller's Ordinary Family Miller's Search for "the People," 1947-1948 The Creation of an Ordinary American Tragedy: Death of a Salesman The Rising Tide of Anticommunism Part 8. Marital Realism and Everyman Love Stories Marital Realism Before and After the Blacklist The Promise of Live Television Drama Paddy Chayefsky's Everyman Ethnicity Conservative and Corporate Constraints on Representing the Ordinary Filming Television's "Ordinary": Marty's Everyman Romance Part 9. Reracializing the Ordinary American Family: Raisin in the Sun Lorraine Hansberry's South Side Childhood Leaving Home, Stepping "Deliberately Against the Beat" The Freedom Family and the Black Left "I Am a Writer": Hansberry in Greenwich Village Raisin in the Sun: Hansberry's Conception, Audience Reception Frozen in the Frame: The Film of Raisin Visions of Belonging Notes Index

18 citations