NOTES

Chapter 1

7	“the cruelest year of the Depression”: William Manchester, The Glory and the Dream: A Narrative History of America 1932–1972 (Boston: Little, Brown, 1975), 32.
7–8	“men of far greater intelligence,” “Appoint a dictator”: ibid., 57, 58.
8	“concentration-camp atmosphere”: Morris Dickstein, Dancing in the Dark: A Cultural History of the Great Depression (New York: Norton, 2009), 58.
10	“fascist satire,” “some calling it a satire”: Ben Urwand, The Collaboration: Hollywood’s Pact with Hitler (Cambridge: Harvard UP, 2013), 109.
12	“the FDR of Arcadia”: Andrew Bergman, We’re in the Money: Depression America and Its Films (New York: Harper Colophon, 1972), 78.
12	“seven million people”: Miron Dolot, Execution by Hunger: The Hidden Holocaust (New York: Norton, 1985), vii.
13	“The picks came down,” “Our Daily Bread,” Film Notes, ed. Eileen Bowser (New York: Museum of Modern Art, 1969), 92.
15	“Hitler, Beast of Berlin”: Bernard F. Dick, The Star-Spangled Screen: The American World War II Film (Lexington, KY: UP of Kentucky, 1985), 61–63.
15	“The history, institutions”: Leonard J. Leff and Jerold L. Simmons, The Dame in the Kimono: Hollywood, Censorship, and the Production Code from the 1930s to the 1960s (New York: Grove Weidenfeld, 1990), 286.
16	“barred from the German market”: Urwand, The Collaboration, 204.
16	“The film’s production history”: Dick, The Star-Spangled Screen, 51–60; Thomas Doherty, Hollywood and Hitler 1933–1939 (New York: Columbia UP, 2013), 337–50.

Chapter 2

23	“twenty-three names”: Larry Ceplair and Steven Englund, The Inquisition in Hollywood: Politics and the Film Community, 1930–1960 (New York: Doubleday, 1980), 447.
23	“never belonged”: Victor S. Navasky, Naming Names (New York: Viking, 1980), 131.
24	“[The conductor]”: Eric Bentley, ed., Thirty Years of Treason: Excerpts from Hearings before the House Committee on Un-American Activities, 1938–1968 (New York: Viking, 1980), 112.
27	“Scorched Earth”: Robert Mayhew, Ayn Rand and Song of Russia: Communism and Anti-Communism in 1940s Hollywood (Lanham, MD: Scarecrow Press, 2005), 14–30.
28	“screen adaptations of five stories”: A. Scott Berg, Goldwyn: A Biography (New York: Ballantine Books, 1989), 267.
29	“accepted his suggestions”: ibid., 374–75.
29	“starvation that ravaged Ukraine”: Dolot, Execution by Hunger, 137–43.
30	“As Carl Rollyson has shown”: Carl Rollyson, Lillian Hellman: Her Legend and Her Legacy (Lincoln, NE: toExcel Press, 1999), 202.
32	“proceeded to use it for all it was worth”: Mission to Moscow, edited and with an introduction by David Culbert, Wisconsin/Warner Bros. Screenplay Series (Madison: U of Wisconsin P, 1980), 17.
32	“under no circumstances”: ibid., 24.
32	“thoroughly unsuited to the job”: George F. Kennan, Memoirs: 1925–1950 (Boston: Little, Brown, 1967), 82.
32	“proposed the idea”: http://www. “Lies and Deceit in American Film,” posted 1 July 2012, reasonradionetwork.com/2012040-Mark Weber Report.
35	“two pounds of dirt”: http://www.militaryhistory.about.com, Kennedy Hickman, “The Winter War: Death in the Snow.”
38	“cost $958,000”: Richard B. Jewell, with Vernon Harbin, The RKO Story (New York: Arlington House, 1982), 194.
39	“Lawson was an anomaly”: Bernard F. Dick, Radical Innocence: A Critical Study of the Hollywood Ten (Lexington, KY: UP of Kentucky, 1989), 44–49.
41	“a pat on Russia’s back”: Mayhew, Ayn Rand and Song of Russia, 17.
41	“The OWI encouraged the studios”: Garth Jowett, Film: The Democratic Art (Boston: Little, Brown, 1976), 213.
41	“Will this picture help”: Urwand, The Collaboration, 225.
41	“objected strenuously,” “I don’t think,” “strengthen the feeling,” “I would love nothing better”: Bentley, Thirty Years of Treason, 138–40.
42	“I can’t remember,” “think over,” “I would say,” “made the deal”: Culbert, Mission to Moscow, 267–71.
43	“so-called Communists”: Navasky, Naming Names, 79.
43	“ad in the Hollywood Reporter”: Ceplair and Englund, The Inquisition in Hollywood, 341.
43	“carried away,” “very emotional”: Navasky, Naming Names, 79.
43	“Let us get it correct,” “We didn’t make a new deal”: Culbert, Mission to Moscow, 274. “excellent”: ibid., 264.

Chapter 3

44	“a very powerful explosive”: Keith Wheeler, The Fall of Japan, World War II Time-Life Books (Alexandria, VA: Time-Life Books, 1983), 72.
45	“A shooting script was ready”: Dick, The Star-Spangled Screen, 118.
47	“extremely powerful bombs”: Wheeler, The Fall of Japan, 20.
47	“What You See Here”: ibid., 24.
47	“Less than a month later”: Richard Rhodes, The Making of the Atomic Bomb (New York: Simon & Schuster Paperbacks, 2012), 711.
47	“Now I am become Death”: ibid., 676.
48	“[The bomb] seems to be”: ibid., 691.
49	“the personalized drama”: Bruce J. Hunt, “Box Office Bomb,” The Appendix, December 2012, http://www.theappendix.net/issues/2012/box-office-lc.
49	“the barbarians of the Dark Ages”: Wheeler, The Fall of Japan, 99.
50	“It was all impersonal”: Rhodes, The Making of the Atomic Bomb, 711.
51	“code is hopelessly anachronistic”: William H. Marling, Raymond Chandler (Boston, Twayne/G. K. Hall, 1986), 82.
52	“I stood there”: The Big Sleep, Raymond Chandler’s Stories and Early Novels (New York: Library of America, 1995), 589.
52	“Thus was born”: David Geherin, The American Private Eye: The Image in Fiction (New York: Ungar, 1985), 72.
52	“thirty million households”: Manchester, The Glory and the Dream, 601.
52	“When Bezzerides read the novel”: Mark Gross, “Kiss Me Deadly,” Films in Review, July 2011, 2.
52	“worked tirelessly”: Manchester, The Glory and the Dream, 695.
52	“committed suicide”: Rhodes, The Making of the Atomic Bomb, 571.
53	“a disgusting mass,” “turning the white of her hair”: Mickey Spillane, Kiss Me, Deadly (New York: Signet, 1962), 175–76.
54	“ejected several million tons”: http://www.“Cold War: A Brief History,” 6, atomic archive.com.
56	“In his interview with director Raoul Walsh”: Richard Schickel, The Men Who Made the Movies (Public Broadcasting Service, 1973).
57	“fear of the cataclysmic destruction”: Peter Biskind, Seeing Is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties (New York: Pantheon, 1983), 102.

Chapter 4

58	“The Broadway musical”: Jamaica, original cast recording, RCA Victor, 1957; Original recording remastered, 1995.
60	“in pursuit of forbidden knowledge”: Margaret Tarratt, “Monsters from the Id,” Films and Filming, December 1970, 40.
61	“the dark, inaccessible part”: Sigmund Freud, New Introductory Lectures on Psychoanalysis, ed. and trans. James Starchy (New York: Norton, 1964), 73-74.
66	“Chris Nyby didn’t direct a thing”: Todd McCarthy, Howard Hawks: The Grey Fox of Hollywood (New York: Grove Press, 1997), 480.
68	“bestow animation,” “Learn from me”: Mary Shelley, Frankenstein or The Modern Prometheus (New York: Penguin, 1992), 53.
71	“intimate parts”: Joseph Breen to William Gordon (UI publicity director), 1 May 1953, Creature from the Black Lagoon production file, Box 136, #760, Universal Collection, Cinematic Arts Library, University of Southern California.
73	“Many of my associates,” “They have no dark moods”: Stuart Kaminsky, Don Siegel, Director (New York: Curtis Books, 1974), 103, 105.
74	“critique of McCarthyism”: Ernesto G. Laura, “Invasion of the Body Snatchers,” Focus on the Science Fiction Film, ed. William Johnson (Englewood Cliffs, NJ: Prentice-Hall, 1972), 71–72.
74	“a parable”: Nora Sayre, Running Time: Films of the Cold War (New York: Dial Press, 1982), 176.
74	“anti-HUAC allegory”: Jeff Smith, Film Criticism, the Cold War and the Blacklist (Berkeley: U of California P, 2014), 144.
75	“Thus The Robe emerges”: ibid., 177.
75	“Darryl F. Zanuck,” “Like the Rosenbergs”: J. Hoberman, An Army of Phantoms: American Movies and the Making of the Cold War (New York: New Press, 2011), 250.
76	“I’m the last man left”: Eugène Ionesco, Rhinoceros, Seven Plays for the Modern Theater, ed. Harold Clurman (New York: Grove Press, 1962), 472.

Chapter 5

77	“Kenneth Arnold”: http://www.history.com/KennethArnold.
81	“The American military was convinced”: David Halberstam, The Coldest Winter: America and the Korean War (New York: Hyperion, 2007), 9–10.
81	“But China’s entry”: ibid., 2.
82	“Ib Melchior’s preliminary screenplay”: Robinson Crusoe on Mars, Paramount Collection, Paramount Pictures Scripts, Margaret Herrick Library.
83	“mighty comfortably”: Daniel Defoe, The Life and Surprising Adventures of Robinson Crusoe (New York: Grosset and Dunlap, 1946), 201.
84	“a comely, handsome fellow”: ibid., 282.

Chapter 6

88	“The uncredited Dalton Trumbo”: Dick, Radical Innocence, 190.
90	“an exciting and provocative title,” “a failure,” “that it has already failed,” “understand the need”: Zanuck to producer Julian Blaustein, 10 August 1950, The Day the Earth Stood Still production file, Twentieth Century-Fox Collection, Cinematic Arts Library, University of Southern California.
90–91	“narration—how they were first seen”: ibid., Zanuck to Blaustein, 27 April 1950.
91	“unaware of the Christian parallels”: Audio commentary by Robert Wise and Nicholas Meyer, The Day the Earth Stood Still, Twentieth Century-Fox Studio Classics, DVD.

Chapter 7

96	“Sidney Boehm had a script ready”: When Worlds Collide, Paramount Collection, Paramount Pictures Scripts, Margaret Herrick Library.
98	“The meteoric spacecrafts”: War of the Worlds, Paramount Collection, Paramount Pictures Production Records, production file (1951–52).
101	“the defense budget”: http://www.infoplease.com. U.S. Military Spending.
102	“The details of the incident were muddied”: Manchester, The Glory and the Dream, 116–19.

Chapter 8

106	“Arnolis Hayman”: A Foreign Missionary on the Long March: The Memoirs of Arnolis Hayman of the China Inland Mission, ed. Anne Marie Brady (Honolulu: U of Hawaii P, 2011).
106	“husband and wife missionaries”: Daniel Bays, “From Foreign Mission to Chinese Church,” Christian History & Biography, 98 (Spring 2008), 7–8.

Chapter 9

108	“had completed a first draft screenplay”: My Son John, Paramount Collection, Paramount Pictures Scripts, Margaret Herrick Library.
110	“We’ve only shot one scene”: New York Times, 18 March 1951, 4X.
111	“convicted of perjury”: Ronald Radosh and Joyce Milton, The Rosenberg File: The Search for the Truth (New York: Holt, 1983), 6.
111	“Klaus Fuchs worked on the Manhattan Project”: ibid., 15.
111	“the Soviet Spy Ruth Werner”: Richard C. S. Trahair, The Encyclopedia of Cold War Espionage, Spies and Secret Operations (Westport, CT.: Greenwood Press, 2004), 156.
111	“a privileged education,” “never a Communist”: http://www.NYTimes.com, Sam Roberts, “Judith Coplon, Haunted by Espionage, Dies at 89”: New York Times obituary, 1 March 2011.
111	“she had access to classified information”: Allen Weinstein, Perjury: The Hiss-Chambers Case (New York: Vintage Books, 1979), 404.
119	“published in paperback”: Pearl S. Buck, Satan Never Sleeps (New York: Pocket Books, 1962).
121	“When Peter Bogdanovich interviewed him”: Peter Bogdanovich, Who the Devil Made It (New York: Knopf, 1997), 432–35.
121	“It was a nightmare,” ibid., 433.

Chapter 10

124	“forthcoming feature production”: J. Edgar Hoover, “The Crime of the Century: The Case of the A-bomb Spies,” Reader’s Digest, May 1951, 168.
124	“down-trodden country,” ibid., 152.
125	“controlled schizophrenia”: Weinstein, Perjury, 208.
125	“grossly underestimated”: Hoover, “The Crime of the Century,” 157.
125	“Greenglass readily admitted”: Radosh and Milton, The Rosenberg File, 47.
128	“as Daniel L. Leab has shown”: Daniel L. Leab, I Was a Communist for the FBI: The Unhappy Life and Times of Matt Cvetic (University Park, PA: Pennsylvania State UP, 2000).
128	“a syndicated radio series”: available http://www.RadioSpirits.com.
131	“writers should be judged,” “non-political,” “Expulsion over this matter”: Ceplair and Englund, The Inquisition in Hollywood, 236, 234, 235.
131	“he wrote the script of Broken Arrow (1950)”: Paul Buhle and Dave Wagner, Hide in Plain Sight: The Hollywood Blacklistees in Film and Television, 1950–2002 (New York: Palgrave Macmillan, 2002), 190.
131	“In 1945”: Dick, Radical Innocence, 95.
133	“the production designer”: David Bordwell, “William Cameron Menzies: One Forceful Impressive Idea,” http://www.davidbordwell.net:Essays.
133	“The Man He Found”: Richard B. Jewell, with Vernon Harbin, The RKO Story, 260.

Chapter 11

135	“David Greenglass informed the FBI”: Radosh and Milton, The Rosenberg File, 71–72.
135	“Pumpkin Papers”: Weinstein, Perjury, 184.
138	“In his autobiography”: Samuel Fuller, A Third Face: My Tale of Writing, Fighting, and Filmmaking (New York: Knopf, 2002), 304–5.
138	“In France”: ibid., 305.

Chapter 12

142	“this was his goal”: Arnie Bernstein, Swastika Nation: Fritz Kuhn and the Rise and Fall of the American Bund (New York: St. Martin’s, 2013).
144	“a would-be presidential assassin”: Tom Dirks, The Manchurian Candidate, http://www.filmsite.org/manc.html.

Chapter 13

148	“a cryptographer at the Soviet embassy”: Walter Millis, The Threat of Communism in a Democracy: A Case History of Soviet Activities Based on an Official Canadian Royal Commission Report, The Iron Curtain clippings file, Margaret Herrick Library.
148	“thirty-nine people”: Alvin Finkel and Margaret Conrad, History of the Canadian People (Toronto: Addison Wesley Longman, 2002), 347.
148	“155 names”: Ceplair and Englund, The Inquisition in Hollywood, 457.
153	“The congregation was asked”: Rick Kephart, “A Brief History of the Legion of Decency (How the Catholic Church Impacted Hollywood),” http://www.freerepublic.com/focus/news/2146228/po.
153	“The Legion was especially critical”: http://www, “Full Text of Motion Pictures Classified by National Legion of Decency.”
154	“you must not weep”: Bruce Marshall, Vespers in Vienna (Boston: Houghton, Mifflin, 1947), 258.

Chapter 14

155	“a paid advertisement”: Bentley, Thirty Years of Treason, 482–84.
155	“Representative Francis E. Walter”: ibid., 495.
156	“Dmytryk came before HUAC”: ibid., 376–400.
156	“Albert Maltz responded”: ibid., 400-5.
157	“a huge mistake”: Richard Schickel, Elia Kazan: A Biography (New York: HarperCollins, 2005), 270.
157	“emphasizing their American character”: Bentley, Thirty Years of Treason, 492–95.
158	“I would move to the State of Texas”: ibid., 134.
158	“private jokes”: Elia Kazan, A Life (New York: Anchor Books, 1989), 480.
159	“the only good and original films”: ibid., 485.

Chapter 15

160	“The free elections”: Max Hastings, The Korean War (New York: Touchstone Books, 1988), 41–42.
160	“jailing Communists”: ibid., 41, 42.
161	“a superior fighting force”: ibid., 45.
161	“33,629 did not return”: ibid., 329.
163	“written quickly”: Samuel Fuller, A Third Face, 256.
163	“$6 million”: ibid., 258.
169	“We are not retreating”: Hastings, The Korean War, 159.
169	“Lewis brought in a profitable film”: Bogdanovich, Who the Devil Made That, 681–82.
172	“blue had a sacramental quality”: Bernard F. Dick: The President’s Ladies: Jane Wyman and Nancy Davis (Jackson: UP of Mississippi, 2014), 196.
174	“This was not the case”: George F. Drake, “Hess: Fraudulent Hero,” http://www.Korean War Children’s Memorial.
176	“fourteen men”: Halberstam, The Coldest Winter, 630.
176	“Taking—and holding—Pork Chop Hill”: http://www.historyonfilm.com/porkchophill.
177	“take refuge in bunkers”: S. L. A. Marshall, Pork Chop Hill: The Classic Account of Korea’s Most Desperate Battle (Nashville, TN: Battery Press, 1986), 12, 14.
178	“There is no political issue”: Jeanine Basinger, Anthony Mann (Boston: Twayne, 1979), 199.
179	“a few of their fellow Americans”: “Korea, Big Switch,” Time, 17 August 1953, http://www.time.com; Hastings, The Korean War, 302.
184	“Like the bottom of a baboon”: Jean Giraudoux, Tiger at the Gates, in Drama and Discussion, ed. Stanley A. Clayes (New York: Appleton-Century-Crofts, 1967), 212.

Chapter 16

186	“Tito broke with Stalin”: Ivo Banac, With Stalin against Tito: Cominformist Splits in Yugoslav Communism (Ithaca: Cornell UP, 1988), ix.
189	“Ours isn’t a horizontal society”: Mary Renault, The Charioteer (New York: Pocket Books, 1967), 174.

Chapter 17

192	“cared not a whit”: email from Hitchcock biographer Donald Spoto to author, 17 December 2013.
192	“Hitchcock has even less interest”: Donald Spoto, The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures (New York: Anchor Books, 1979), 43.
193	“the MacGuffin”: François Truffaut, with the collaboration of Helen G. Scott, Hitchcock (New York: Touchstone Books, 1967), 98.
193	“a British mood”: Raymond Durgnat, The Strange Case of Alfred Hitchcock or, The Plain Man’s Hitchcock (Cambridge, MA: MIT Press, 1978), 153.
198	“The Russians have poisoned the birds”: Daphne Du Maurier, “The Birds,” Kiss Me Again, Stranger (New York: Doubleday, 1952), 48.
198	“Won’t America do something?” “how many million years”: ibid., 65, 66.
198	“has left the ending ambiguous”: Camille Paglia, The Birds, BFI Film Classics (London: BFI Publishing, 1998), 86.
199	“In May 1965”: Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (Boston: Little, Brown, 1983), 486–87.
200	“simply ransacked his bag of tricks”: ibid., 492.
201	“depending on where you start counting”: James Naremore, Filmguide to Psycho (Bloomington: Indiana UP, 1973), 57.
207	“spying on French colonies”: Fergus Mason, The Sapphire Affair: The True Story behind Alfred Hitchcock’s Topaz (Absolute Crime Books: www.absolutecrime.com, 2013), 11.
207	“Uris was privy”: ibid., 82–83.
207	“set up a spy network”: David Wise, “Molehunt,” http://www.american.buddha.com/cia.molehunt8-htm.
208	“modeled after Anatoliy Golitsyn”: Mason, The Sapphire Affair, 28–29.
208	“Hitchcock originally wanted Uris”: Topaz-script 1968, Alfred Hitchcock Papers, 56f-5-668, Margaret Herrick Library.
208	“Taylor’s was the screenplay”: ibid., 60f-703; Mason, The Sapphire Affair, 89.

Chapter 18

212	“Can you get me assigned to your outfit?” Dan Gagliasso, “John Wayne, World War II and the Draft,” 2, http://www.breitbart.com/Big-Hollywood/2010/02/28/John-Wayne-World-War-II-and-the-Draft.
213	“Stalin sent two hit men”: Russell Meeuf, John Wayne’s World: Traditional Masculinity in the Fifties (Austin: U of Texas P, 2013), 73.
213	“turn off the faucets”: Ceplair and Englund, The Inquisition in Hollywood, 211.
213	“unsupported charges”: Bentley, Thirty Years of Treason, 292.
214	“We didn’t make ‘Hollywood’ and ‘Red’ synonymous,” ibid.
214	“Let no one say”: ibid., 300.
214	“HUAC had amassed enough evidence”: Richard Borreca, “Fear of Communist infiltrators engulfed postwar Hawaii,” http://www.archives.starbulletin.com.
215	“the film soars”: Andrew Sarris, The Films of Josef von Sternberg (New York: Museum of Modern Art, 1966), 62.
217	“the United States was paying”: Manchester, The Glory and the Dream, 680.
218	“Attorney General Robert Kennedy intervened”: Jack Doyle, “The Green Berets, 1965–1968,” http://www.PopHistoryDig.com.
220	“there was a constitution”: http://www.vietnamembassy_usa.org.embassy.
221	“great numbers of people”: “John Wayne 1971 ‘Racist’ Playboy Interview,” www.youtube.com/watch?v=9tmaCOJJOh8.

Chapter 19

223	“a phenomenon”: Phillip Deery, Red Apple: Communism and McCarthyism in Cold War New York (New York: Fordham UP, 2014), 1.
224	“Storm Center was to have starred Mary Pickford”: Bernard F. Dick, “An Interview with Daniel Taradash: From Harvard to Hollywood,” Columbia Pictures: Portrait of a Studio, ed. Bernard F. Dick (Lexington: UP of Kentucky, 1992), 149.
226	“investigating organizations”: Deery, Red Apple, 14–17.
228	“Sidney Lumet hired him”: Frank Cunningham, Sidney Lumet: Film and Literary Vision (Lexington: UP of Kentucky, 1991), 87.
228	“had recruited former Nazi war criminals”: Richard Rashke, “The FBI’s Shameful Recruitment of Nazi War Criminals,” http://www.blogs.reuters.com/... the-shameful-recruitment-of-Nazi-war-criminals.
228	“had found positions”: Glenn Yeadon and John Hawkins, The Nazi Hydra in America: Suppressed History of a Century, Wall Street and the Rise of the Fourth Reich (Joshua Tree, CA: Progressive Press, 2008), 395.
228	“placing them on US payrolls overseas”: Christopher Simpson, Blowback: America’s Recruitment of Nazis and Its Effect on the Cold War (New York: Weidenfeld and Nicholson, 1988), xiv.
228	“Nazis are regarded”: Yeadon and Hawkins, The Nazi Hydra in America, 385.
228	“In the decades after World War II”: Eric Lichtblau, “In Cold War, U. S. Spy Agencies Used 1,000 Nazis,” New York Times, 27 October 2014, 1.
228	“Helen Reid Bryan”: Deery, Red Apple, 1.
231	“in the middle of the night”: Rebecca Prime, Hollywood Exiles in Europe: The Blacklist and Cold War Film Culture (New Brunswick: Rutgers UP, 2014), 83.
231	“Because if everyone broke faith”: Arthur Miller, After the Fall (New York, Bantam, 1964), 80.
231	“I cannot and will not”: Bentley, Thirty Years of Treason, 537.

Chapter 20

233	“there never was an innocent year”: Jon Margolis, The Last Innocent Year: America in 1964, The Beginning of the “Sixties” (New York: Morrow, 1999), vii.
234	“Daisy”: Drew Babb, “Blame ‘Daisy’ for modern political attack ads,” The Record, 9 September 2014, A-9.
235	“sophomoric”: Cunningham, Sidney Lumet, 137.
235	“They give birth astride a grave”: Samuel Beckett, Waiting for Godot, a Tragicomedy in Two Acts (New York: Grove Press, 1954), 58.
237	“a nightmare comedy”: Stanley Kubrick, “How I Learned to Stop Worrying and Love the Cinema,” Films and Filmmaking, June 1963, 12.
237	“The case was settled out of court”: Vincent LoBrutto, Stanley Kramer: A Biography (New York: D. I. Fine, 1997), 242.
239	“a leg injury”: http://www. “Notes from the War Room,” Grand Street #49.
239	“the joint creation of Kubrick and Peter George”: Peter Kramer, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (London: Palgrave Macmillan, 2014), 15.
240	“The Greatest Films”: Dr. Strangelove, http://www.filmsite.org/drst.
241	“a homosexual advance”: Norman Kagan, The Cinema of Stanley Kubrick (New York: Grove Press, 1972), 137.
242	“In his impressive ongoing study”: http://www Rob Ager, “The Essence of War: An in-depth analysis of Stanley Kubrick’s Dr. Strangelove,” 2011, chapter 5.
242	“According to a PBS program”: http://www. General Curtis E. LeMay (1906–1990), 2009, pbs.org/wgbh/amex/bomb/peopleevents/pandeAMEX61.h.
242	“two of Kubrick’s biographers”: John Baxter, Stanley Kubrick: A Biography (New York: Carroll and Graff, 1997), 186; LoBrutto, Stanley Kubrick, 239.
243	“Operation Paperclip”: http://www “Welcome to Operation Paperclip,” History Learning Site.

Chapter 21

245	“twenty-thousand”: Deery, Red Apple, 165, n.3.
246	“America girding up”: Dick, The Star-Spangled Screen, 94.
246	“duck and cover”: http://www. Pat Zacharian, “When Bomb Shelters Were All the Rage.”
246	“bomb shelters”: http://www.YouTube, “Inside a 1950’s Bomb Shelter.”
249	“The incident was not made known”: David Hoffman, “I Had a Funny Feeling in My Gut,” Washington Post, 10 February 1999, A 14.
251	“loved people,” “inconsolable”: Nancy Lynn Schwartz, The Hollywood Writers’ Wars (New York: Knopf, 1982), xi.
251	“Above Us the Earth”: http://www.bfi.movies.com/reviews/3027.above.us.the.earth.
251	“inspired by a 1951 strike”: Dick, Radical Innocence, 77.
253	“Biberman’s own account”: Herbert Biberman, Salt of the Earth: The Story of a Film (Boston: Beacon Press, 1965).
253	“the actual strike”: Salt of the Earth: Screenplay by Michael Wilson, Commentary by Deborah Silverton Rosenfelt (Old Westbury, NY: Feminist Press, 1978), 93–126.
253	“wondered about the effect:” http://www.time.com, Olivia B. Waxman, “The Real CIA behind ‘The Americans’”: Time, 30 January 2013.