Acknowledgments  ix

1. Sycoanalysis: An Introduction  1

2. Jew Envy  50

3. Petrified Laughter: Jews in Pictures, 1947  72

4. Collaborators: Schulberg, Kazan, and A Face in the the Crowd  105

5. Comicosmopolitanism: Behind Television  153

6. Bringing Down the House: The Blacklist Musical  182

Coda. Cosmopolitan States  223

Notes  229

Bibliography  271

Index  283

Honorable Mention, 2010 James Russell Lowell Award, presented by the Modern Language Association

“This is a book which is a revelation in itself, and defines what it is to be free in an allegedly democratic society, where difference is damned and duty to nation comes before conscience and what is right. A triumph for Litvak and necessary reading for anyone who believes that the land of the free is alive and well.”—Danielle Mulholland, M/C Reviews

“[A] formidable piece of scholarship, one with which subsequent studies of the blacklist, the Hollywood social problem film and accounts of Jewish-American culture will most certainly have to contend.”—Art Simon, Cineaste

“[T]his book is an elegant, provocative, and at times brilliant contribution to both Jewish cultural studies and debates about the mix of popular art and politics in the blacklist era.”—Brian Neve, Theatre History Studies

“In its focus on the broader political and cultural impact of Jewishness (as well as Jews) and in its refusal to get mired in the stasis of identity studies, Litvak’s book represents a new and welcome direction for both American Studies and Jewish Studies, especially as they relate to one another.”—Daniel Itzkovitz, MELUS

“Litvak says outright his is not yet another history. Instead, he gives us a craftily organized disorderly form, which I mean as a compliment. Despite its gravity regarding the individual and social harm caused by Cold War anti-Communism, The Un-Americans offers readers a festive scavenger hunt, streaked with Yiddishkeit (remnants of a time when Jews were still outsiders in the United States) and stocked with insight into the blacklist’s cloudy cultural terrain and legacies.”—Clay Steinman, Jump Cut

“Livak’s book is thought-provoking but also troubling…[His] analysis of the [House Un-American Activities Committee] hearings helps us understand that making jokes may sometimes be no laughing matter.” —Abraham Hoffman, Western States Jewish History

Honorable Mention, 2010 James Russell Lowell Award, presented by the Modern Language Association

“This is a book which is a revelation in itself, and defines what it is to be free in an allegedly democratic society, where difference is damned and duty to nation comes before conscience and what is right. A triumph for Litvak and necessary reading for anyone who believes that the land of the free is alive and well.”—Danielle Mulholland, M/C Reviews

“[A] formidable piece of scholarship, one with which subsequent studies of the blacklist, the Hollywood social problem film and accounts of Jewish-American culture will most certainly have to contend.”—Art Simon, Cineaste

“[T]his book is an elegant, provocative, and at times brilliant contribution to both Jewish cultural studies and debates about the mix of popular art and politics in the blacklist era.”—Brian Neve, Theatre History Studies

“In its focus on the broader political and cultural impact of Jewishness (as well as Jews) and in its refusal to get mired in the stasis of identity studies, Litvak’s book represents a new and welcome direction for both American Studies and Jewish Studies, especially as they relate to one another.”—Daniel Itzkovitz, MELUS

“Litvak says outright his is not yet another history. Instead, he gives us a craftily organized disorderly form, which I mean as a compliment. Despite its gravity regarding the individual and social harm caused by Cold War anti-Communism, The Un-Americans offers readers a festive scavenger hunt, streaked with Yiddishkeit (remnants of a time when Jews were still outsiders in the United States) and stocked with insight into the blacklist’s cloudy cultural terrain and legacies.”—Clay Steinman, Jump Cut

“Livak’s book is thought-provoking but also troubling…[His] analysis of the [House Un-American Activities Committee] hearings helps us understand that making jokes may sometimes be no laughing matter.” —Abraham Hoffman, Western States Jewish History

“A candidate for instant classic of Jewish cultural studies, Joseph Litvak’s The Un-Americans displays the great capacity for work in that mode to revise our understanding of political-cultural history tout court. Realizing the originating ambition of Jewish cultural studies to arrive at a kind of Jew theory, Litvak’s book articulates the interanimations of queer and Jew theories in its reading of the Jew/queer as un-American comicosmopolitan through his frequently brilliant analyses of the performances of American Jewish writers and actors before the House Un-American Activities Committee. It would be, however, a violation of the very spirit of this spirited book were one to fail to note the gifts of Litvak as a comic writer himself. To misquote a line from the book, the Jewish issues of Litvak’s work are its universal issues.”—Daniel Boyarin, University of California, Berkeley

“Joseph Litvak makes an entirely cogent case that in recent decades ‘you don’t have to be Jewish’ to be subjected to the public policing tactics developed in the McCarthy era: certain types of feminists, queer activists, and African American and Native American academics will serve as even ‘better’ objects of protracted exposure in the media and eventual professional and political disrepute. This is what gives The Un-Americans its strong intellectual and political salience and makes it an original and notable contribution not just to the history of anti-Semitism and the blacklist in the United States but also of a broader and more enduring strain of ‘sycophantic’ politics and resistance thereto.”—Michael Moon, Emory University

“It has been a long time since I found a book so convincing. The Un-Americans is a truly original interpretation of the blacklist and the House Un-American Activities Committee, and the 1950s as the era that established the functioning of both citizenship (in the political sphere) and mass entertainment (in the cultural sphere) as ‘the staging and enforcement of a normative style of American seriousness.’ It is a model combination of history, interpretation, and theory.”—Sharon Marcus, Columbia University

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