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Cold War Culture

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This research examines Cold War culture, in which the issue of public image, or perception, of geopolitical rivals and allies and their adherents surfaced as a recurring theme throughout the last half of the 20th century. The research will consider ways in which commentators and artists, via public statements, the public discourse, and such media as television and film, treated the question of image in that period, with a view toward identifying reasons that perception was so important to so many as well as evaluating the weight that Cold War-context presentation carried in shaping the culture of the time.

The generation that witnessed and participated in World War II was shocked to learn afterward that some 12 million people--6 million of them Jews--had been murdered, not collaterally but before and in parallel with the shooting war in Europe, as a matter of public policy and with full commitment of the apparatus of state (Dawidowicz, 1975). In consequence, there arose "a temper of absolute despair . . . because man has used his most precious knowledge, his reason, science, and technology, the achievements of the scientific spirit, for genocide, for mass murder" (Bemporad, 1968, p. 478).

Another decisive feature of World War II was US use of the atomic bomb in Japan in 1945, which as President Truman said in announcing the event, had "harness[ed] the basic power of the universe" (Goldman, 1960, p. 4). In 1949, the Soviet Union announced that it had successfully tested its

. . .
's story. And in Saunders's analysis, much of their activity could be traced to Soviet expertise "in the use of culture as a tool of political persuasion." Saunders continues: [T]he Soviets did much in these early years of the Cold War to establish its central paradigm as a cultural one. Lacking the economic power of the United States and, above all, still without a nuclear capability, Stalin's regime concentrated on winning "the battle for men's minds." America, despite a massive marshalling of the arts in the New Deal period, was a virgin in the practice of international Kulturkampf (Saunders, 1999, p. 18). By no means did the US government attempt to conceal manifest sponsorship of all cultural exports with a view toward enhancing the American public image. Prevots (1999) cites the Eisenhower administration's sponsorship cultural exchange programs emphasizing the dance, between American and Soviet touring dance companies, a program that led to the founding of the National Endowment for the arts. Nevertheless, what until 1967 was secret about the American response to Soviet Kulturkampf configured as the CCF was its CIA connection, and until very recently the extraordinary depth and tightness of that connection. In other words,
. . .

Some common words found in the essay are:
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Approximate Word count = 4329
Approximate Pages = 17 (250 words per page)

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