TAILIEUCHUNG - RED STARS IN HOLLYWOOD

This hyperbolic collapsing of film-historical specificity within a spatially-based and marketing-driven, postmodern nostalgia bath on live TV is only possible in the digital media environment. The 2002 Oscar show introduction performs a mapping of first, a visual and aural take-off on a current film, and next, old movie posters, onto the contemporary Hollywood street, collapsing cinematic space onto at once marketing discourse and geographic space. Such “presti-digital” cinematic feats point to new geographies of movie marketing, and more precisely, movie heritage marketing, that have broader implications. As recent conjunctions of. | THEIR HELPERS FELLOW TRAVELERS ANDCOCONSPIRATORS 100 Names Referred to by Jimmie Fidler Newspapers Afraid to Publish íỉ ỉỉ ỉẢ f ci aagMts K MẾBỉẨ -SiẵMíẩMỉểOỆỆíỂ ÊlỂ iSÌ - lv- _. -r 7 . - X L si 5 .- K-. Í . s. . c . - . f . . r v- X IVầ. J 0z A sf A iA . wTp vi ẩ skv. ĨỈ ẹ ỉắ - Z- Lr A vWj tiXT 4 - ĨỈ Tii-zvu . r .V z v Ặ- À X -V- X A w l z z Ba X A yẶVĩív TEXT OF THE SPEECH MADE BY MYRON c. FAGAN FROM THE STAGE OF THE EL PATIO. THEATRE AFTER THE OPENING NIGHT PERFORMANCE OF THIEVES PARADISE ON MON- DAY APRIL 12 1948. Tonight my friends you shall hear about Communism in Hollywood that will shock you Into a full realization of what a menace these traitors are to the safety of America. As most of you know the re-opening of Thieves Paradise here Instead of in New York was prompted by the determination of the courageous American women who organized Citizens United for American Principles for the distinct purpose of proving to the Hollywood Communists and their despicable palsy-walsies that they cannot control the legitimate theater as thev control most of the Film Industry s producers actors and writers. The Iron Ring But not until I began to organize for the re-openlng of Thieves Paradise did I become fully aware what an Iron ring the Commies have welded around the Motion Picture Studios and the Broadcasting Stations. The moment I announced my intention to re-open they came rearing out of their rat holes with one cry Stop Thieves Paradise at all costs Why Because this Is the first and only anti-Communist play to appear on the stage and they fully realize that If this play survives their sabotage It will break their hold It will stiffen the spines of the studio heads It will encourage other playwrights to start a cycle of antl-Communist plays and films. And the pressure they applied against me this time was far greater than the first time. And they were arrogantly positive that they would make it Impossible for me to re-open. Likewise they had everybody In th .

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