Author : Tony Shaw
Publisher : Univ of Massachusetts Press
Page : 356 pages
File Size : 21,81 MB
Release : 2007
Category : Art
ISBN : 9781558496125
Examines the role of American filmmakers in the ideological struggle against communism
Author : Tatiana Prorokova-Konrad
Publisher : Univ. Press of Mississippi
Page : 264 pages
File Size : 11,94 MB
Release : 2020-12-15
Category : Performing Arts
ISBN : 1496831136
Contributions by Thomas J. Cobb, Donna A. Gessell, Helena Goscilo, Cyndy Hendershot, Christian Jimenez, David LaRocca, Lori Maguire, Tatiana Prorokova-Konrad, Ian Scott, Vesta Silva, Lucian Tion, Dan Ward, and Jon Wiebel In recent years, Hollywood cinema has forwarded a growing number of images of the Cold War and entertained a return to memories of conflicts between the USSR and the US, Russians and Americans, and communism and capitalism. Cold War II: Hollywood’s Renewed Obsession with Russia explores the reasons for this sudden reestablished interest in the Cold War. Essayists examine such films as Guy Ritchie’s The Man from U.N.C.L.E., Steven Spielberg’s Bridge of Spies, Ethan Coen and Joel Coen’s Hail, Caesar!, David Leitch’s Atomic Blonde, Guillermo del Toro’s The Shape of Water, Ryan Coogler’s Black Panther, and Francis Lawrence’s Red Sparrow, among others, as well as such television shows as Comrade Detective and The Americans. Contributors to this collection interrogate the revival of the Cold War movie genre from multiple angles and examine the issues of patriotism, national identity, otherness, gender, and corruption. They consider cinematic aesthetics and the ethics of these representations. They reveal how Cold War imagery shapes audiences’ understanding of the period in general and of the relationship between the US and Russia in particular. The authors complicate traditional definitions of the Cold War film and invite readers to discover a new phase in the Cold War movie genre: Cold War II.
Author : Bryn Upton
Publisher : Rowman & Littlefield
Page : 209 pages
File Size : 24,32 MB
Release : 2014-08-26
Category : Performing Arts
ISBN : 1442237945
From the late 1940s until the early 1990s, the Cold War was perhaps the most critical and defining aspect of American culture, influencing television, music, and movies, among other forms of popular entertainment. Films in particular were at the center of the battle for the hearts and minds of the American public. Throughout this period, the Cold War influenced what movies got produced, how such movies were made, and how audiences understood the films they watched. In the post–Cold War era, some genres of film suffered from the shift in our national narratives, while others were quickly reimagined for an audience with different political and social fears. In Hollywood and the End of the Cold War: Signs of Cinematic Change, Bryn Upton compares films from the late Cold War era with movies of similar themes from the post–Cold War era. In this volume, Upton pays particular attention to shifts in narrative that reflect changes in American culture, attitudes, and ideas. In exploring how the absence of the Cold War has changed the way we understand and interpret film, this volume seeks to answer several key questions such as: Has the end of the Cold War altered how we tell our stories? Has it changed how we perceive ourselves? In what ways has our popular culture been affected by the absence of this once dominant presence? With its focus on themes that are central to the concerns of many historians—including civil religion, social fracture, and the culture wars—Hollywood and the End of the Cold War will serve as a useful tool for those seeking to integrate film into the classroom, as well as for film scholars exploring representations of sociopolitical change on screen.
Author : Bernard F. Dick
Publisher : Univ. Press of Mississippi
Page : 303 pages
File Size : 39,40 MB
Release : 2016-03-14
Category : Performing Arts
ISBN : 1496805402
The Screen Is Red portrays Hollywood's ambivalence toward the former Soviet Union before, during, and after the Cold War. In the 1930s, communism combated its alter ego, fascism, yet both threatened to undermine the capitalist system, the movie industry's foundational core value. Hollywood portrayed fascism as the greater threat and communism as an aberration embraced by young idealists unaware of its dark side. In Ninotchka, all a female commissar needs is a trip to Paris to convert her to capitalism and the luxuries it can offer. The scenario changed when Nazi Germany invaded the Soviet Union in 1941, making Russia a short-lived ally. The Soviets were quickly glorified in such films as Song of Russia, The North Star, Mission to Moscow, Days of Glory, and Counter-Attack. But once the Iron Curtain fell on Eastern Europe, the scenario changed again. America was now swarming with Soviet agents attempting to steal some crucial piece of microfilm. On screen, the atomic detonations in the Southwest produced mutations in ants, locusts, and spiders, and revived long-dead monsters from their watery tombs. The movies did not blame the atom bomb specifically but showed what horrors might result in addition to the iconic mushroom cloud. Through the lens of Hollywood, a nuclear war might leave a handful of survivors (Five), none (On the Beach, Dr. Strangelove), or cities in ruins (Fail-Safe). Today the threat is no longer the Soviet Union, but international terrorism. Author Bernard F. Dick argues, however, that the Soviet Union has not lost its appeal, as evident from the popular and critically acclaimed television series The Americans. More than eighty years later, the screen is still red.
Author : Robert J. Corber
Publisher : Duke University Press
Page : 237 pages
File Size : 35,34 MB
Release : 2011-01-27
Category : History
ISBN : 0822349477
Interpretations of Hollywood films of the 1950s and 1960s demonstrate how Cold War homophobia focused on the femme as the lesbian who posed the greatest threat to the nation.
Author : Tony Shaw
Publisher :
Page : 320 pages
File Size : 11,19 MB
Release : 2010
Category : History
ISBN :
The first book-length survey of cinema's vital role in the Cold War cultural combat between the U.S. and the USSR. Focuses on 10 films--five American and five Soviet, both iconic and lesser-known works--showing that cinema provided a crucial outlet for the global "debate" between democratic and communist ideologies.
Author : John Sbardellati
Publisher : Cornell University Press
Page : 265 pages
File Size : 19,9 MB
Release : 2012-05-15
Category : Performing Arts
ISBN : 0801464684
Between 1942 and 1958, J. Edgar Hoover’s Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood’s alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover’s G-men on screenplays and screenings of such films as Frank Capra’s It’s a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI’s anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954). In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood’s history and the post–World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs. Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle, or, at its worst, conducive to communism at home. Those who took part in Hollywood’s Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War.
Author : Tony Shaw
Publisher : University Press of Kansas
Page : 312 pages
File Size : 11,5 MB
Release : 2014-08-15
Category : Performing Arts
ISBN : 0700620206
The Cold War was as much a battle of ideas as a series of military and diplomatic confrontations, and movies were a prime battleground for this cultural combat. As Tony Shaw and Denise Youngblood show, Hollywood sought to export American ideals in movies like Rambo, and the Soviet film industry fought back by showcasing Communist ideals in a positive light, primarily for their own citizens. The two camps traded cinematic blows for more than four decades. The first book-length comparative survey of cinema's vital role in disseminating Cold War ideologies, Shaw and Youngblood's study focuses on ten films—five American and five Soviet—that in both obvious and subtle ways provided a crucial outlet for the global "debate" between democratic and communist ideologies. For each nation, the authors outline industry leaders, structure, audiences, politics, and international reach and explore the varied relationships linking each film industry to its respective government. They then present five comparative case studies, each pairing an American with a Soviet film: Man on a Tightrope with The Meeting on the Elbe; Roman Holiday with Spring on Zarechnaya Street; Fail-Safe with Nine Days in One Year; Bananas with Officers; Rambo: First Blood Part II with Incident at Map Grid 36-80. Shaw breathes new life into familiar American films by Elia Kazan and Woody Allen, while Youngblood helps readers comprehend Soviet films most have never seen. Collectively, their commentaries track the Cold War in its entirety—from its formative phase through periods of thaw and self-doubt to the resurgence of mutual animosity during the Reagan years-and enable readers to identify competing core propaganda themes such as decadence versus morality, technology versus humanity, and freedom versus authority. As the authors show, such themes blurred notions regarding "propaganda" and "entertainment," terms that were often interchangeable and mutually reinforcing during the Cold War. Featuring engaging commentary and evocative images from the films discussed, Cinematic Cold War offers a shrewd analysis of how the silver screen functioned on both sides of the Iron Curtain. As such it should have great appeal for anyone interested in the Cold War or the cinematic arts.
Author : Rebecca Prime
Publisher : Rutgers University Press
Page : 248 pages
File Size : 20,37 MB
Release : 2014-01-14
Category : Performing Arts
ISBN : 0813570867
Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood émigrés directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the River Kwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director). At once a lively portrait of a lesser-known American “lost generation” and an examination of an important transitional moment in European cinema, the book offers a compelling argument for the significance of the blacklisted émigrés to our understanding of postwar American and European cinema and Cold War relations. Prime provides detailed accounts of the production and reception of their European films that clarify the ambivalence with which Hollywood was regarded within postwar European culture. Drawing upon extensive archival research, including previously classified material, Hollywood Exiles in Europe suggests the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon. By shedding new light on European cinema’s changing relationship with Hollywood, the book illuminates the postwar shift from national to transnational cinema.
Author : Jonathan Gill
Publisher : Abrams
Page : 390 pages
File Size : 37,20 MB
Release : 2020-04-07
Category : Biography & Autobiography
ISBN : 1683358155
This true story of Golden Age Hollywood and Cold War espionage is a “captivating, fast-paced narrative [that] reads like a thriller” (Library Journal). Boris Morros was a major figure in the 1930s and ’40s. The head of music at Paramount, nominated for Academy Awards, he then went on to produce his own films with Laurel and Hardy, Fred Astaire, Henry Fonda, and others. But as J. Edgar Hoover would discover, these successes were a cover for one of the most incredible espionage tales in the history of the Cold War—Boris Morros also worked for Russian intelligence. Morros’s assignments took him to the White House, the Vatican, and deep behind the Iron Curtain. The high-level intel he provided the KGB included military secrets and compromising information on prominent Americans: his friends. But in 1947, Morros flipped. At the height of the McCarthy era, he played a leading role in a deadly tale. Jonathan Gill’s Hollywood Double Agent is an extraordinary story about Russian spies at the heart of American culture and politics, and one man caught in the middle of the Cold War. “Well-written and perceptive . . . Morros was an empty vessel who could be turned left or right depending on how it satisfied his personal interest.” —New York Journal of Books “Reads like an espionage thriller . . . with malevolent, powerful—and sometimes bumbling—characters.” —Kirkus Reviews “A fascinating and swift-reading biography.” —The Wall Street Journal
