Essay on Pop Culture in Cold War - Special Academic Support

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This question is important because it was raised during the Cold War, a period in history that has been marked for over forty years by intense warfare between the US and the USSR. Pop culture was a major force that arose during this period that influenced all cultures in the middle of this period with superpowers competing for nuclear supremacy. Pop culture, and Hollywood films, in particular, influenced Russian society.

American popular culture reflected the concerns which emerged between the United States and the USSR in the years following World War II. However, in several ways, popular culture has helped to subvert Cold War fears by challenging both the government and the public’s prevailing assumptions

The Cold War was an important period of public, yet restrained, tension between Western world democracies and the Eastern communist countries. The United States led the Democratic West, while the Soviet Union the two world superpowers at the time. Although the two superpowers never declared war on each other directly, they clashed indirectly through proxy wars, an arms race, and the space race, to achieve political and cultural supremacy.

The federal government itself created a series of so-called factual ‘documentaries’ documenting the dangers of a communist society: Communist Blueprint for Conquest (1955), Red Nightmare (1955), The Communist Weapon of Allure (1956), and Communist Target: Youth (1962), featuring then-Procurator General Robert Kennedy, just to highlight a few. In a series of pamphlets, books, and films about how to withstand the bomb, the government paid equal attention to the nuclear threat. Propaganda was subsequently the topic of the 1982 film The Atomic Café directed by Jayne Loader and Kevin Rafferty and was satirized in a 1997 episode of the South Park cartoon series

Nowadays, James Bond is such a familiar representation of British style that it’s difficult to keep track of his Cold War history. In early novels by Ian Fleming, Bond was simply a blunt weapon to combat the Communists. On the screen, however, Bond’s Cold War connotations were slightly toned down: for example, his early rivals worked for the international crime network SPECTRE, the Soviet intelligence agency SMERSH, while the films’ obsession with design, fashion, and architecture seemed a long way from Fleming’s fiery conservatism. And even the violent product placement of Bond films was in its way a tactic in the wider Cold War.

Only days after Japan’s surrender, an embassy clerk defected in Canada, exposing for the first time the scale of Western Soviet spy operations. Paranoia over Communist infiltration and control took place in the United States within a few years. Before long the box office hit Secret Agent, the first Soviet spy movie, by Boris Barnet. Secret Agent has set out a framework for subsequent popular representations of heroic Communist spies with its Third Reich setting. Soviet films will rarely depict the Cold War explicitly, giving preference to the backdrops of the Russian Civil War and World War II.

From the beginning of the Cold War, music has been viewed by governments as a powerful instrument for persuading people that their particular way of life was superior, a ‘soft power’ to be used in the cultural struggle that succeeded in the armed conflict raising the stakes of atomic power. However, in the messages they created and accepted, artists and audiences were not without influence, and their messages also came into conflict with both communism and the Western world. The analysis of music’s impact on Cold War politics and people’s relationships with their governments offers evidence of music’s ability to manipulate historical events and illuminates the lengths that government agencies have gone to regulate that influence.

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