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Cold War in motion pictures

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Manchurian Candidate (Motion picture) --- Condon, Richard --- Cold War in motion pictures

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This volume compares films from the late Cold War era with films of the same genre, or of similar themes, from the post-Cold War era, paying particular attention to shifts in narrative that reflect changes in American culture, attitudes, and ideas. It explains how the absence of the Cold War has changed the way we understand and interpret film.

Motion pictures --- Cold War in motion pictures. --- Communism and motion pictures --- Communism and moving-pictures --- Motion pictures and communism --- Political aspects --- History

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The Cold War was not only about the imperial ambitions of the super powers, their military strategies, and antagonistic ideologies. It was also about conflicting worldviews and their correlates in the daily life of the societies involved. The term "Cold War Culture" is often used in a broad sense to describe media influences, social practices, and symbolic representations as they shape, and are shaped by, international relations. Yet, it remains in question whether - or to what extent - the Cold War Culture model can be applied to European societies, both in the East and the West. While every

Cold War --- Cold War in literature. --- Cold War in motion pictures. --- Cold War in mass media. --- Cold War in popular culture. --- Collective memory --- Social aspects

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If Dick (emer., Fairleigh Dickinson) had put off publication a few more months, he could have included the Coen brothers Hail, Caesar, which spoofs ?commies? portrayed in Hollywood movies in the 1940s and the 1950s, the Cold War, the HUAC period, Senator Joe McCarthy, and the replacement of the Yellow Peril with the Red Menace. Susan Sontag's ?The Imagination of Disaster? (collected in her Against Interpretation, CH, Jul'66) is possibly the first critical piece on monster movies spawned by the atom and hydrogen bombs, but Dick does not emphasize the moral implications of these films as much as Sontag does. He sees communists. He sees them everywhere, and he is not wrong in his ideologically oriented study of how it was necessary for Hollywood to maintain a strong anti-communist line (just as, ironically, Hollywood kept Hitler happy in the 1930s and very early 1940s). Dick devotes chapters to John Wayne and Alfred Hitchcock, and he is especially strong on Dr. Strangelove, Fail-Safe, and the Cold War symbolism of Invasion of the Body Snatchers and High Noon. But he is not beyond noting Flight to Nowhere, a 1940s B movie. In other words, Dick is encyclopedic. The book includes a full filmography.

Motion pictures --- Motion picture industry --- Communism and motion pictures --- Cold War in motion pictures. --- Guerre froide au cinéma --- Political aspects --- History --- History. --- Cinéma --- Communisme et cinéma --- Aspect politique --- Industrie --- Cold War in motion pictures --- Guerre froide dans le cinéma --- Koude oorlog in de film --- Cinéma --- Communisme et cinéma --- Guerre froide au cinéma --- United States --- 20th century --- Film --- Los Angeles [California]