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The effects of the cold war on film
Relation between film and society
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Films do and have always reflected society because they show what's important to people. Films demonstrate fads and hot button issues. Film is not only a piece of art but also a tool of social reform as it expresses the feelings of humans and their idea of contemporary society. Films are the mirror that reflect the society. They are controlled by powerful forces that filter information to the public as well as reflect their fears. This has been held true in the film industry for many decades. For example, when society had a fear of widespread crime then there were many films that reflected the police catching the criminals. When society felt that the schools were not educating the children then there were films reflecting inspirational teachers or school administrators who took charge and turned a school around. This has held true for all types of films throughout the decades. Popular science fiction films of the 1950s were no exception and reveal some of the widespread fears of that era.
The 1950s was indeed a decade of contradiction. Americans were both optimistic in the post-war economic times and scared in the shadow of the Cold War and the Atomic Age. Hollywood released many films during this period that reflected society’s paranoia and fears. Their paranoia was perpetuated by their fear of invasion and espionage, the fear of radiation and the fear of social change. Many of the films produced used the science fiction genre to dig deeper into these fears without frightening the audiences off from their political message.
Even though the United States and the Allies won World War II, there was paranoia about Communism including the fear of invasion by the Soviet Union and China. This fear came from the Cold War and the fai...
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...es, we must change for the better. In the movie, Klaatu appears before Barnhardt's colleagues and warns them that because the universe grows smaller every day, threats of aggression cannot be tolerated. Klaatu assures them that they will be under the watchful eye of a robot named Gort, who was invented by an organization of planets determined to stamp out violence. Each planet is guarded by a robot that impartially acts against aggression, and the inhabitants live in peace. He informs the crowd, "Your choice is simple: join us and live in peace, or pursue your present course and face obliteration."
Popular science fiction films of the 1950s revealed some of the widespread fears of that era. During that time of fear and change it must be remembered that the struggle was not alien versus human. Rather it was man versus himself and man versus the environment.
One of the biggest fears of the American people is that the concept of communism contrasts drastically from the concept of capitalism, which the United States was essentially founded upon. The United States, as the public believed, was not a land of perfect communal equality, but rather a land of equal opportunity. However, what made communism so dangerous can be succinctly described by Eisenhower who compared the spread of communism as the domino effect. As his secretary of state, Dulles, put it, the propagation of communism “would constitute a threat to the sovereignty and independence” of America (Doc B). In addition, the Cold War also planted the seeds of rational fear of a global nuclear war. As Russia caught up to the United States in terms of technological advancements, they successfully developed the atomic bomb as well as the hydrogen bomb, which caused Americans to believe that the USSR would use these weapons of mass destruction to forcefully extend their ideologies to the USA. In fact, Americans were so frantic about a potential nuclear disaster that it...
The alliance formed between the US and USSR during the second world war was not strong enough to overcome the decades of uneasiness which existed between the two ideologically polar opposite countries. With their German enemy defeated, the two emerging nuclear superpowers no longer had any common ground on which to base a political, economical, or any other type of relationship. Tensions ran high as the USSR sought to expand Soviet influence throughout Europe while the US and other Western European nations made their opposition to such actions well known. The Eastern countries already under Soviet rule yearned for their independence, while the Western countries were willing to go to great lengths to limit Soviet expansion. "Containment of 'world revolution' became the watchword of American foreign policy throughout the 1950s a...
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
Suid, Lawrence. "The Pentagon and Hollywood: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)." American History/ American Film: Interpreting the Hollywood Image. Eds. John E. O'Connor and Martin A. Jackson. Boston: Frederick Ungar Publishing Co., 1979.
Why do we fear the unknown? In the process of answering this question, science-fiction genre films successfully capture the history of American society at distinct points in time. The genre is so closely linked to social and historical contexts that its development relies solely on this connection. Sci-fi myths and conventions have remained static for decades, and the only measurable change in the genre lies in the films’ themes (Gehring 229-230). For example, Robert Wise’s The Day the Earth Stood Still (1951) argues that fear of the unknown is a flaw in human nature and criticizes the social paranoia of post-war, 1940s America. Conversely, Steven Spielberg’s Close Encounters of the Third Kind (1977) views the human existence through more positive outlook, wherein society can overcome such fear; this optimism reflects the escapist beliefs of the 70s. When juxtaposed, the films’ themes demonstrate the evolution of the sci-fi genre by expressing different social attitudes towards conventions such as foreign beings, unfamiliar technology, and unusual scientists. The films also represent the genre during two major aesthetic periods in cinema—the post-classical and the late modernist eras, respectively—but nonetheless serve a greater purpose in measuring America’s social progress.
In this essay I will be looking at the topic of the countercultural movement of the 1960’s through counterculture film. The 1960’s were an extremely interesting time in history not only in the United States but all over the western world, as we saw the rise of the counterculture generation. The counter was a group of movements focused on achieving personal and cultural liberation and was embraced in many different ways by the decade’s young people. I have chosen this topic as the 60’s stand out for me as a revolutionary and often misrepresented period in history. The films I have chosen to look at are The Baader Meinhof Complex from director Uli Edel, Woodstock from Michael Wadleigh, Pirate Radio from Richard Curtis, and Fear and Loathing in Las Vegas from director Terry Gilliam. I chose to analyse these films as I believe they clearly demonstrate the social and political issues of the 1960’s and societies response to them.
Ferrell, Robert H., and Peter Szatmar. "The Villains Of The 'Red Scares' Of 1950." Phi Kappa Phi Forum 90.3 (2010): 10-11. Business Source Complete. Web. 17 Feb. 2014.
From after World War II and up until 1991 the foreign policy of the United States was based on Cold War ideology and the policy of containment; to prevent nations from leaning towards Soviet Union-based communism, as first laid out by George Kennan and later used as one of the key principles in the Truman Doctrine (LeCain). As this essay will argue, because of this policy the United States made a commitment to fight communism everywhere in the world and got them involved in conflicts more because of self interest, self protection and determination to beat communism than the cause itself.
In Philip K. Dick’s time science fiction writers that rose to fame in the 1950’s were concerned with the physics of science while Dick was more concerned about the metaphysic of it. One of the most important ideas transferred over from Dick’s novel to Blade Runner is “the problematic nature of the human being and the difficult task of being human.”[2] The film’s themes of gene...
In his book Cold War: The American Crusade against World Communism, James Warren discusses the conflict between the United States and the Soviet Union, its causes, its consequences, and its future. Warren also analyzes why the United States was so afraid of communism and how this fear controlled both U.S. domestic and foreign policy. In George Washington’s Farewell Address, he warned future leaders to avoid foreign entanglements. However, the United States strayed away from this policy in 1941 after the bombing of Pearl Harbor. From then on, the United States realized that with its great power came great responsibility. The U.S. felt the responsibility to develop a strategy to combat the spread of world communism, which was viewed as the “Red menace.” The U.S. believed that communism would spread from the Soviet Union, across all of Europe; the U.S. understood that the spread of communism would not be very difficult because the destruction caused by World War II left many nations vulnerable to communism. Also, the Soviet Union had a highly-trained army, a ruthless leader, and a nation committed to Marxist-Leninism, which was a belief that human progress is the destruction of Western democracy and capitalism. The Cold War was a military, diplomatic, economic, and scientific struggle between the Soviet Union and the United States. The rivalry between these two nations also affected places such as Korea, Ethiopia, Nicaragua, Malaya, and Vietnam. The Cold War controlled many of the crises that occurred the last half of the 20th century. The major conflict of course was the threat of nuclear weapons. Thomas Larson wrote that “the vulnerability to weapons that could destroy entire countries...heightened fears and antagonisms and made th...
...e American Dream. Larry Ceplair and Englund stated in the book The Inquistion in Hollywood, “The destruction of the motion picture Left not only transformed the political atmosphere in Hollywood, but also adversely affected the kind of product which the studios turned out. “ In the early 20th century Hollywood reframed from producing politically controversial films in fear of becoming a target of McCarthy or the HUAC. Anti-communism influences the films produced, films portrayed communism as evil and immoral. The films during the cold war certainly portrayed the political storm between the progressive left and the conservative right. Films such as Ninotchka in 1939, showed anti-communism, guilty of Treason 1949, showed an attack against communism, exploiting the evils of communism was shown in Docudrama. The Red Menace in 1949 showed the immense threat f communism.
A few years before the conflict in Korea, US President Truman set forth an international policy known as the Truman Doctrine. The Truman Doctrine stated that the United States would aid countries that were fighting communist takeover. Combined with the ideological differences between the US and the USSR, the Soviet Union’s development of an atomic bomb pushed tensions past the breaking point, moving both countries into an arms race during which each attempted to amass more weapons than the other nation. Around the same time, over in Asia, the Communist Party banished Chinese Nationalists, the local democratic party, and began taking hold under Mao Zedong. This sparked fear within the Americans, for China was a large, influential country in Asia; Americans began to believe that China’s communistic society would influence its smaller surrounding countries to adopt communism as well. That series of events, along with the perceived threat of communism spreading, led to a tim...
Over the many years of English literature and various forms of media, the ideals of the times and of the creators of these works have changed; some drastically, some possibly not as much. The genre of science fiction is no exception. Take, for example, two of the most widely-known science fiction novels in the history of English literature: The Time Machine and The War of the Worlds, written in the late 1800s in Victorian England by H.G. Wells—novels which, quite arguably, revolutionized the science fiction genre—and their modern theatrical counterparts. While it may be more beneficial to compare two works of the same medium, the differences in themes and style are still evident. The former two reflect Wells’ own views in society and his comments on them using allegories, while the latter two tend to appeal to a more general audience and appear to have a theme based on emotions, family and more recent world issues. The modern films The Time Machine and War of the Worlds directed by Simon Wells and Steven Spielberg respectively are indeed adaptations of the original novels. Obvious differences in the storylines aside, the films tend to introduce aspects that would appeal to a broader audience today, such as more action, fighting, adventure and romance than was in the books, helping to develop some of the themes. The ideas and themes that appear in media are often based on events that occurred during the time in which the work was created, as well as the creator’s own ideals. As a result, through the comparison of the original novels by Wells and their film adaptations, it is possible to see how society as a whole has changed over a century’s time, and how the themes present in these works of science fiction have changed as ...
Science fiction never ceases to amaze me as I take great enjoyment in exploring these creative universes. I have always had a great interest in military science fiction for its take on technological innovation and critical analysis. Military science fiction in general is very speculative about future of technology and warfare. The military science fiction genre also serves as a critique of contemporary politics as it deals with many of the same issues that go on today. This has made military science fiction one if the most well respected genres of science fiction for it ability to indirectly criticize modern society. My Integrated Project explores the relationship between how technology that has arisen from war has been some of the most innovative and why war has become an unshakeable aspect of human existence.
.... The most apparent reason being is that the 1950s were a time of fear, tidiness, maturity, and scientific wonder. Authors took advantage of readers’ imaginations by portraying unknown worlds and using the fear of nuclear war to help the suspense of their storytelling. In modern times, people have television to show them worlds beyond their own. Science has shown us more realistic happenings from things like radiation fallout, and the fear of nuclear warfare is no longer a constant staple is Americans minds. People now look for more relatable stories about relationships and struggles of a lacking economy, or the day-to-day troubles of being a teenager with all the hormonal problems to deal with.