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Share This Site. Search This Site. Though they request again Powered download citizen spy television espionage and cold with interaction to these sites, they 've found to go such or other browser. According to Nils Gilman it came in at least three flavors: a technocosmopolitan flavor, which argued that modernity must be built on the foun- dations of tradition; a revolutionary flavor, which argued that modernization required a radical rupture with tradition; and an authoritarian flavor, which argued that this radical rupture could take place only through the force of a centralizing and omniscient state.


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That also worked in the other direction. Modernist art had its own idea about the social and the political future. As Nils Gilman pointed out: Modernism was not just an aesthetic phenomenon but also a form of social and political practice in which history, society, economy, culture, and nature itself were all to be the object of technical transformation. Modernism was a polysemous code word for all that was good and desirable. Both even shared a sense of authoritarianism.

Modernization theory stood at the center of the evolving Cold War social sci- ences. The social sciences as systems of knowledge claimed to understand suc- cessfully the other side.

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Their influence peaked in the s and early s. Their compelling argument that secured them hegemony in the scientific discourse was modern- ization. Securing the best way to modernize society was tantamount to winning the Cold War. The Cold War was thereby partly depoliticized or better de-systemized. This did not mean, that the war was less dangerous and brutal — quite to the contrary. Though the military confrontation moved to proxy wars in the Third World, the convergence theory shared by both sides claimed that the industrial-technical maximum would be the social and political optimum.

Mod- ernization theory moved both sides from confrontation to competition.

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At the turn from the s to the s modernism lost its grip on Cold War culture. New forms arrived that were more prone to popular and mass culture. The youth culture put other cultural dichotomies center stage than that of modernism versus realism. Modernism and consensus capitalism had succeeded as role models. The threat of a communist takeover of Western Europe was gone after the Hungarian uprising in and its appalling impact on Western leftist intellectuals. Modernism had been successful and was part of the establishment. A new generation trying to find new answers did not see modernism on the side of the solution but rather on the side of the problem.

Modernism seemed to convey a sense of order, coherence and control and to evade the immediate experience that art was supposed to capture. The intuitive science of thermo- nuclear war Cambridge, Mass.

Modernisms high seriousness and aloofness was under- stood as part of that essentially educational and non-communicative culture, the youth culture as well as the students wanted to distance themselves from. Already the Eisenhower administration, but then particularly the Kennedy administration intensified and broadened these exchange programs. Finally culture itself changed. Cold War modernism had been essentially a print phe- nomenon. The audience had engaged with modernism in forms of print: posters, magazines, manifestoes, small-press books, broadsides, advertisements, gallery flyers, catalogs and programs for musical and theater performances.

Even mod- ernist painting was essentially two-dimensional. Movies had been central to culture all along, but the television brought a new quality to visual culture and to where people could get their information and their world views from. Already contemporaries saw that the rise of visual culture would not only alter the audiences but also the notion of culture itself.

George F. Kennan voiced these concerns in West Berlin in Mass culture with a central- ized influence of the new visual media could lead to a society under complete control, where nobody had any desire for more sophisticated forms of culture. An age illuminated by TV screens would in fact be a dark age, he told the audience.


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  • It changed the dynamics between culture and the Cold War that had been established in a print culture. What had formerly been distributed uni-directionally by print was now distributed by visual media.

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    The Cold War on TV did not allow for any form of comment. Visuality allowed for more immediate emotional contact. This contact bridged social, cultural, as well as linguistic divides.

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    Images, TV, and movies played a crucial role in the imaginative and affective construction of the Cold War, a conflict, that in the US and Western Europe at least, lacked material reality. That did not only hold true for warfare as with the often cited Vietnam war, which was the first war on TV. It included new formats and genres that displaced the Cold War in Western or later in science fiction and began to exhibit new characters and plots. Visualizing the Cold War enemy took on many forms. Mapping the blocks was common throughout the s.


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    • It was probably the most common visual feature of the Cold War. Cold War maps offered a visual construction of the Soviet Union. The projection was used between and The map presented a political message packaged as a self-evident map. As the centerpiece of public cartography it visual- ized the Cold War for generations.

      The representational link between culture and politics can be replaced by a relational link. Culture is rather a way to produce meaning of wars and conflicts itself. Conflicts themselves are cultur- ally constructed, framed and reframed. Cold War culture not only narrated or visualized political threats and the Cold War antagonism, but it eventually became a plat- form for criticism and re-imagination of the Cold War itself.

      That reframed the Cold War dichotomy and allowed for partial consensus and coexistence. Deadly conflict was reframed as competition. From a moral or religious standpoint one could argue for the inherent immorality of the Cold War.

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      Citizen Spy: Television, Espionage, and Cold War Culture (Commerce and Mass Culture)

      From a more disillusioned or even nihil- ist background, pursuing a Cold War seemed anyway useless and self-gratula- tory. As literary styles irony, parody and satire were at hand for plotting the Cold War. Spy novels and science fiction read the Cold War culture psychologically through anxieties and literary introspections into the twisted self and looked at its antagonisms and schisms. Verrat, Spionage und moderne Fiktion Frankfurt a. Andrew Hammond New York: Routledge, Bernd Greiner, Christian Th. It imagined the Cold War in ambiguous forms.

      That is even true of the James Bond saga. The Bond saga transfigured the Cold War into a plot with three antagonists: Bond, the Soviet Union and — the longer the more — global criminals — often with a Nazi background. The cultural politics of Bloomington, Ind. A cultural history of the James Bond films, 2. Writing the global conflict, Routledge studies in twentieth-century literature 3 London [u.

      Melvyn P. Balancing ethics and politics Basingstoke [u.