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dc.contributor.authorStabile, Carol A.
dc.date.accessioned2012-05-17T12:35:29Z
dc.date.available2012-05-17T12:35:29Z
dc.date.issued2011
dc.identifier.citation“’We Can Remember It For You Wholesale': Lessons of the Broadcast Blacklist", Moment of Danger: Critical Communication History, Ed Janice Peck and Inger Stole, Marquette University Press, 2011en_US
dc.identifier.isbn978-0-87462-034-4
dc.identifier.urihttp://hdl.handle.net/1794/12209
dc.description14 pagesen_US
dc.description.abstractThe following essay considers the ways in which the broadcast blacklist affected how media studies scholars think about and study the 1950s, as well how we understand the role of gender and family in 1950s popular culture. At the start of the 1950s--at the very moment in which television was emerging, in the words of blacklisted writer Shirley Graham DuBois, as "the newest, the most powerful, the most direct means of communication devised by Man ... .[whose] potentialities for Good or for Evil are boundless"--a massive ideological crackdown occurred in broadcasting (Graham 1964. By focusing on how the blacklist made struggles over gender, race, and class unspeakable in the new medium, this essays seeks to restore the memory of these struggles and their participants to accounts of the 1950s, to underscore the strategic manipulation of culture and memory by conservative forces, and to remind us just how crucial historical research is for media studies.en_US
dc.language.isoen_USen_US
dc.publisherMarquette University Pressen_US
dc.rightsrights_reserveden_US
dc.subjectBlacklisting of entertainers -- United States
dc.subjectPopular culture -- United States -- History -- 20th century
dc.title"We can remember it for you wholesale": Lessons of the broadcast blacklisten_US
dc.typeBook chapteren_US


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