Un-American: Dmytryk, Rossellini and 'Christ in Concrete'

Richard Maltby began his influential account of the relation between Hollywood and the House Un-American Activities Committee with an assertion of its centrality to our understanding of the relation between American film and politics. ‘No adequate history of the Cold War in America can be written without reference to the blacklist and other agencies of cultural repression that were generated by those encounters’, he claimed. ‘But those events are now well documented, and their history has been written more than once. What remains to be said?’1