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Adrian Scott and the Politics of Anti-Fascism in Cornered
Jennifer Langdon-Teclaw

Drawing on internal studio correspondence, multiple screenplay drafts and the final film, this essay reconstructs the production history of Cornered to explore the ways in which Scott both compromised with and challenged the studios expectations and interventions. I argue that although Ceplair and Englund are correct in their assessment that studio meddling shaped the films political content in significant ways, Scotts complex negotiations during the films production ensured that Cornered remained a powerfully anti-fascist film.

Film Studies
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Joseph Losey and the crisis of historical rupture
Colin Gardner

of his ‘otherness’. The boy, played by Dean Stockwell in the film, learns to embrace his difference against the pressures of small-town bigotry and take a stand for racial tolerance. The film’s initial producer was Adrian Scott, a future member of the blacklisted ‘Hollywood Ten’, who had established his reputation with Raymond Chandler’s Murder My Sweet (1944) and a series of controversial ‘message

in Joseph Losey
James Chapman

the Year and a Communist Party member since 1936)  and Adrian Scott (producer of the anti-racist thriller Crossfire, but never himself a member of the Communist Party) were two of the original ‘Hollywood Ten’. Lardner claimed that ‘we involved up to twenty blacklisted writers in this process – Waldo Salt did a great many’.36 Salt, a Communist Party member and one of the ‘unfriendly witnesses’ called before HUAC (so-called because they refused to co-operate with the Committee), was something of a specialist in film swashbucklers having been involved in the writing of

in Swashbucklers
Abstract only
James Chapman

the series employed a stock company of supporting actors, including Patrick McGoohan, Nigel Green, Derren Nesbitt and Edward Judd. The writers included several of the blacklistees who had contributed to The Adventures of Robin Hood, including Ring Lardner Jr, Ian McLellan Hunter and Adrian Scott.9 The publicity for The Adventures of Sir Lancelot maintained that it was based on Sir Thomas Malory’s chivalric romance Le Morte d’Arthur (c.1470), though the period setting was changed ‘from the sixth to the 52   Swashbucklers: The costume adventure series fourteenth

in Swashbucklers
Mankiewicz (1953)
Andrew James Hartley

two of its top talents (producer Adrian Scott and director Edward Dmytryk) had been members of the so-called Hollywood Ten: ten writers, directors and producers who had refused to give information to HUAC, prompting the Motion Picture Association of America to suspend them without pay until they were cleared of Contempt of Court charges and swore a loyalty oath disavowing communist affiliations. They refused to

in Julius Caesar
Towards a selective tradition
Paul K. Jones

America , 145ff. 9 Cited in Jennifer E. Langdon, Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (New York: Columbia University Press, 2008), chapter 7 . 10 Lowenthal and Guterman, Prophets of Deceit , xv

in Critical theory and demagogic populism