This chapter analyzes the effect of the anti-Communist campaign on the screen. There were two strains of anti-Communist films. The first followed the insights of Ayn Rand and is represented most notably by the film version of her novel, The Fountainhead (1943). On the other hand, J. Edgar Hoover's brand of anti-Communism talked about the role of American institutions—the government, the church, and the traditional, patriarchal nuclear family—as safeguards against Communist subversion. “Hooverism” therefore shaped the anti-Communist films far more than “Randism.” Hoover's mark was especially prevalent in anti-Communist “B” films, such as Robert G. Springsteen's The Red Menace (1949), Gordon Douglas's I Was a Communist for the F.B.I. (1951), Leo McCarey's My Son John (1952), and Edward Ludwig's Big Jim McLain (1952); but it was also evident in such artistic achievements as Elia Kazan's On the Waterfront (1954).
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