Download PDF by Rebecca M. Schreiber: Cold War Exiles in Mexico: U.S. Dissidents and the Culture
By Rebecca M. Schreiber
The onset of the chilly battle within the Nineteen Forties and Fifties brought about the exile of many U.S. writers, artists, and filmmakers to Mexico. Rebecca M. Schreiber illuminates the paintings of those cultural exiles in Mexico urban and Cuernavaca and divulges how their inventive collaborations shaped a necessary and powerful tradition of resistance. As Schreiber recounts, the 1st exiles to reach in Mexico after international battle II have been visible artists, lots of them African-American, together with Elizabeth Catlett, Charles White, and John Wilson. people who have been blacklisted from the Hollywood movie undefined, equivalent to Dalton Trumbo and Hugo Butler, those artists, as did writers, together with Willard Motley. Schreiber examines the artists’ paintings with the printmaking collective Taller de Gr?fica renowned and the screenwriters’ collaborations with filmmakers comparable to Luis Bu?uel, in addition to the effect of the U.S. exiles on inventive and political hobbies. The chilly warfare tradition of political exile challenged American exceptionalist ideology and, as Schreiber finds, tested the resilience of oppositional paintings, literature, and movie in line with kingdom repression.
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Additional resources for Cold War Exiles in Mexico: U.S. Dissidents and the Culture of Critical Resistance
Lorde described the town of Cuernavaca years later as having “earned a name as a haven for political and spiritual refugees from the north, a place where American middle class non-conformists could live more simply, cheaply, and quietly than in Acapulco or Taxco, where all the movie stars went. ”102 In Cuernavaca she met up with Frieda Matthews, an American nurse who had served in the Spanish Civil War and who was an acquaintance of Lorde’s friend Ruth Bahras. After visiting Cuernavaca, Lorde decided to move there.
Catlett and Wilson, along with Charles White and Margaret Taylor Goss Burroughs, spent time in Mexico making explicitly politically engaged art. Their work provided an inﬂuential model for other African American artists who remained in the United States during the 1950s and 1960s. Moreover, this work articulated a decidedly critical transnational aesthetic through its fusion of representational techniques, multiple audiences, and thematic transpositions. The connections forged between African American and Mexican artists after World War II was inﬂuenced by the previous association between African American and Mexican artists during the two decades following the Mexican Revolution.
29 Thomas and his committee held private meetings with “friendly” witnesses, many of whom were members of this group. 30 In actuality, only forty-three subpoenas were sent to individuals, twenty-four of which were mailed to those whom the committee regarded as friendly witnesses. ” Of the nineteen unfriendly witnesses, twelve were screenwriters. 31 Most of the “Hollywood exiles” left the United States for Mexico between the 1947 and 1951 HUAC hearings. During the 1947 hearings, ten witnesses, later known as the Hollywood Ten, refused to respond to questions 8 .
Cold War Exiles in Mexico: U.S. Dissidents and the Culture of Critical Resistance by Rebecca M. Schreiber