What impact did the House Committee on Un-American Activities have on the motion picture industry quizlet?

Paul Robeson was a popular performer and African American political activist. He attacked racism and imperialism and advocated for African decolonization. He appeared before the House Un-American Activities Committee in 1956. He invoked the Fifth Amendment and refused to cooperate.

Mr. ARENS: Are you now a member of the Communist Party?

Mr. ROBESON: Oh please, please, please.

Mr. SCHERER: Please answer, will you, Mr. Robeson?

Mr. ROBESON: What is the Communist Party? What do you mean by that?

Mr. SCHERER: I ask that you direct the witness to answer the question.

Mr. ROBESON: What do you mean by the Communist Party? As far as I know it is a legal party like the Republican Party and the Democratic Party. Do you mean a party of people who have sacrificed for my people, and for all Americans and workers, that they can live in dignity? Do you mean that party?

Mr. ARENS: Are you now a member of the Communist Party?

Mr. ROBESON: Would you like to come to the ballot box when I vote and take out the ballot and see?

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Mr. ROBESON: Gentlemen, in the first place, wherever I have been in the world, Scandinavia, England, and many places, the first to die in the struggle against Fascism were the Communists and I laid many wreaths upon graves of Communists. It is not criminal, and the Fifth Amendment has nothing to do with criminality. The Chief Justice of the Supreme Court, Warren, has been very clear on that in many speeches, that the Fifth Amendment does not have anything to do with the inference of criminality. I invoke the Fifth Amendment.

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Mr. ROBESON: Could I say that the reason that I am here today, you know, from the mouth of the State Department itself, is: I should not be allowed to travel because I have struggled for years for the independence of the colonial peoples of Africa. For many years I have so labored and I can say modestly that my name is very much honored all over Africa, in my struggles for their independence. That is the kind of independence like Sukarno got in Indonesia. Unless we are double-talking, then these efforts in the interest of Africa would be in the same context. The other reason that I am here today, again from the State Department and from the court record of the court of appeals, is that when I am abroad I speak out against the injustices against the Negro people of this land. I sent a message to the Bandung Conference and so forth. That is why I am here. This is the basis, and I am not being tried for whether I am a Communist, I am being tried for fighting for the rights of my people, who are still second-class citizens in this United States of America. My mother was born in your state, Mr. Walter, and my mother was a Quaker, and my ancestors in the time of Washington baked bread for George Washington’s troops when they crossed the Delaware, and my own father was a slave. I stand here struggling for the rights of my people to be full citizens in this country. And they are not. They are not in Mississippi. And they are not in Montgomery, Alabama. And they are not in Washington. They are nowhere, and that is why I am here today. You want to shut up every Negro who has the courage to stand up and fight for the rights of his people, for the rights of workers, and I have been on many a picket line for the steelworkers too. And that is why I am here today. …

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Mr. ROBESON: In Russia I felt for the first time like a full human being. No color prejudice like in Mississippi, no color prejudice like in Washington. It was the first time I felt like a human being. Where I did not feel the pressure of color as I feel [it] in this Committee today.

Mr. SCHERER: Why do you not stay in Russia?

Mr. ROBESON: Because my father was a slave, and my people died to build this country, and I am going to stay here, and have a part of it just like you. And no Fascist-minded people will drive me from it. Is that clear? I am for peace with the Soviet Union, and I am for peace with China, and I am not for peace or friendship with the Fascist Franco, and I am not for peace with Fascist Nazi Germans. I am for peace with decent people.

Mr. SCHERER: You are here because you are promoting the Communist cause.

Mr. ROBESON: I am here because I am opposing the neo-Fascist cause which I see arising in these committees. You are like the Alien [and] Sedition Act, and Jefferson could be sitting here, and Frederick Douglass could be sitting here, and Eugene Debs could be here.

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Mr. ARENS: Now I would invite your attention, if you please, to the Daily Worker of June 29, 1949, with reference to a get-together with you and Ben Davis. Do you know Ben Davis?

Mr. ROBESON: One of my dearest friends, one of the finest Americans you can imagine, born of a fine family, who went to Amherst and was a great man.

THE CHAIRMAN: The answer is yes?

Mr. ROBESON: Nothing could make me prouder than to know him.

THE CHAIRMAN: That answers the question.

Mr. ARENS: Did I understand you to laud his patriotism?

Mr. ROBESON: I say that he is as patriotic an American as there can be, and you gentlemen belong with the Alien and Sedition Acts, and you are the nonpatriots, and you are the un-Americans, and you ought to be ashamed of yourselves.

THE CHAIRMAN: Just a minute, the hearing is now adjourned.

Mr. ROBESON: I should think it would be.

THE CHAIRMAN: I have endured all of this that I can.

Mr. ROBESON: Can I read my statement?

THE CHAIRMAN: No, you cannot read it. The meeting is adjourned.

Mr. ROBESON: I think it should be, and you should adjourn this forever, that is what I would say.

Source: Committee on Un-American Activities, Investigation of the Unauthorized Use of U.S. Passports (Washington: Government Printing Office, 1956), 4492-4509. Available online via Internet Archive (https://archive.org/details/investigationofu0304unit).

1. Reds in Hollywood
2. Accusing the Accusers
3. Imprisoned and Blacklisted

In October 1947, 10 members of the Hollywood film industry publicly denounced the tactics employed by the House Un-American Activities Committee (HUAC), an investigative committee of the U.S. House of Representatives, during its probe of alleged communist influence in the American motion picture business. These prominent screenwriters and directors, who became known as the Hollywood Ten, received jail sentences and were banned from working for the major Hollywood studios. Their defiant stands also placed them at center stage in a national debate over the controversial anti-communist crackdown that swept through the United States in the late 1940s and early 1950s. Besides the Hollywood Ten, other members of the film industry with alleged communist ties were later banned from working for the big movie studios. The Hollywood blacklist came to an end in the 1960s.

Reds in Hollywood

In the years following World War II (1939-45), the United States and Soviet Union engaged in a tense military and political rivalry that became known as the Cold War. Although the U.S. and its communist rival rarely confronted each other directly, they both attempted to extend their influence and promote their systems of government around the world. A number of Americans believed that their nation’s security depended on preventing the spread of communism, and this attitude created an atmosphere of fear and suspicion in many parts of the country.

Did you know? Many of the Hollywood Ten writers continued producing screenplays under assumed names after they were blacklisted. Using the pseudonym Robert Rich, Dalton Trumbo penned the script for "The Brave One," which earned an Academy Award for Best Screenplay in 1957.

The House Un-American Activities Committee was charged with investigating allegations of communist influence and subversion in the U.S. during the early years of the Cold War. Committee members quickly settled their gaze on the Hollywood film industry, which was seen as a hotbed of communist activity. This reputation originated in the 1930s, when the economic difficulties of the Great Depression increased the appeal of leftist organizations for many struggling actors and studio workers.

With the dawning of the Cold War, anti-communist legislators grew concerned that the movie industry could serve as a source of subversive propaganda. Although popular Hollywood films of the 1930s and 1940s offered little evidence of an overriding Socialist agenda, the investigation proceeded. In October 1947, more than 40 people with connections to the movie industry received subpoenas to appear before HUAC on suspicion of holding communist loyalties or being involved in subversive activities.

Accusing the Accusers

During the investigative hearings, members of HUAC grilled the witnesses about their past and present associations with the Communist Party. Aware that their answers could ruin their reputations and careers, most individuals either sought leniency by cooperating with investigators or cited their Fifth Amendment right against self-incrimination. However, a group of 10 Hollywood screenwriters and directors took a different approach and openly challenged the legitimacy of the committee’s investigations.

The 10 individuals who defied HUAC were Alvah Bessie (c. 1904-85), Herbert Biberman (1900-71), Lester Cole (c. 1904-85), Edward Dmytryk (1908-99), Ring Lardner Jr. (1915-2000), John Howard Lawson (1894-1977), Albert Maltz (1908-1985), Samuel Ornitz (1890-1957), Robert Adrian Scott (1912-73) and Dalton Trumbo (1905-76). These men, who became known as the Hollywood Ten, not only refused to cooperate with the investigation but denounced the HUAC anti-communist hearings as an outrageous violation of their civil rights, as the First Amendment to the U.S. Constitution gave them the right to belong to any political organization they chose. Some compared the committee’s coercive methods and intimidating tactics to the oppressive measures enacted in Nazi Germany. “I am not on trial here,” declared screenwriter Lawson. “This committee is on trial.”

Imprisoned and Blacklisted

The Hollywood Ten paid a high price for their actions at the HUAC hearings. In November 1947, they were cited for contempt of Congress. Facing trial on that charge in April 1948, each man was found guilty and sentenced to spend a year in prison and pay a $1,000 fine. After unsuccessfully appealing the verdicts, they began serving their terms in 1950. While in prison, one member of the group, Edward Dmytryk, decided to cooperate with the government. In 1951, he testified at a HUAC hearing and provided the names of more than 20 industry colleagues he claimed were communists.

A more lasting punishment came as a result of the movie industry blacklist. Studio executives did not want their business to be associated with radical politics in the minds of the movie-going public and therefore agreed that they would not employ the Hollywood Ten (with the exception of Dmytryk) or anyone else suspected of being affiliated with the Communist Party. The motion picture industry blacklist grew steadily larger as Congress continued its investigations into the 1950s, and numerous careers were damaged as a result. The blacklist ended in the 1960s.

The Hollywood Ten were controversial figures at the time they launched their protest, and their actions continue to inspire debate decades later. Some tend to view their punishment as justified, since the individuals were admitted communists, while others generally view them as heroic figures who spoke out against the abuses of the Red Scare–and in defense of the U.S. Constitution–when many of their colleagues remained silent.