000			03549cam a2200373 a 4500
001			123696
005			20230410130635.0
008			100427s2010 ksua bq s001 0 eng
010			_a 2010018067
020			_a9780700617432 (cloth : alk. paper)
020			_a0700617434 (cloth : alk. paper)
020			_a9780700620203
020			_a0700620206
040			_aDLC _cDLC _dBTCTA _dYDXCP _dC#P _dCDX _dBWX _dDLC
042			_apcc
043			_an-us--- _ae-ur---
050	1	4	_aPN 1995.9.P6 _bS534c 2010
082	0	0	_a791.43
100	1		_aShaw, Tony, _d1965-
245	1	0	_aCinematic Cold War : _bthe American and Soviet struggle for hearts and minds / _cTony Shaw and Denise J. Youngblood.
260			_aLawrence : _bUniversity Press of Kansas, _cc2010.
300			_aix, 301 p. : _bill. ; _c25 cm.
504			_aIncludes bibliographical references and index.
504			_aIncludes filmography.
505	0		_aIntroduction : culture, film and the "new" Cold War history -- Industry, state, and Cold War contours. American cinema and the Cold War -- Soviet cinema and the Cold War -- Sites of conflict. Justifying war -- Pleasure versus progress -- Deterrence and dissent -- Conservatism versus anarchy -- Last acts -- Conclusion.
520			_aThe 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. 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 over 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 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. 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. They show such themes blurred notions regarding "propaganda" and "entertainment," terms that were often interchangeable and mutually reinforcing during the Cold War. Cinematic Cold War offers a shrewd analysis of how the silver screen functioned on both sides of the Iron Curtain.
650		0	_aCold War in motion pictures.
650		0	_aPolitics in motion pictures.
650		0	_aMotion pictures _xPolitical aspects _zUnited States.
650		0	_aMotion pictures _xPolitical aspects _zSoviet Union.
700	1		_aYoungblood, Denise J. _q(Denise Jeanne), _d1952-
856	4	2	_3Book review (H-Net) _uhttp://www.h-net.org/reviews/showrev.php?id=36737
942			_2lcc _cbk
999			_c77655 _d77655