Gestützt auf bislang unausgewertete Quellen werden Konzeption, Organisation und Technik einer neuen deutschen Luftwaffe in der westlichen Allianz nachgezeichnet. Zentrale Bedeutung für Ausbildung, ...Ausrüstung und Einsatzrollen gewinnen dabei der Einbau in die atomare Vergeltungsstrategie und deren Wandel seit Beginn der 60er Jahre. Erweitert und ergänzt werden diese Forschungsfelder durch Einblicke in die Luftverteidigung der NATO und die Ausbildung in den USA. Aufbau und Entwicklung bleiben dabei eng verknüpft mit den Komplexen Rüstungsbeschaffung, technologische Entwicklung und materielle Einsatzbereitschaft. Hochrangige Zeitzeugen vertiefen diese Einsichten aus ihrem Miterleben in den fliegenden Verbänden, der Flugabwehrtruppe und der Logistik.
»Goldene 50er« oder »Bleierne Zeit«? Kaum eine Dekade der deutschen Nachkriegsgeschichte spielt im Fernsehen heute eine größere Rolle als die 1950er Jahre. Umso erstaunlicher ist es, dass die ...Geschichtsbilder dieser Zeit bisher in der Geschichtskulturforschung kaum Beachtung fanden.Auf der Grundlage einer breiten Quellenbasis zeigt Mark Rüdiger, wie sich im Fernsehen Geschichtsbilder der 50er Jahre herausgebildet und verändert haben. Die Analyse berücksichtigt dabei sowohl Dokumentationen als auch Fernsehfilme und demonstriert den großen Einfluss von Genres auf die Ausgestaltung von geschichtlichen Inhalten in den Fernsehsendungen.
The Other Blacklist Washington, Mary Helen
2014., 20140408, 2014, 2013-08-06
eBook
Mary Helen Washington recovers the vital role of 1950s leftist politics in the works and lives of modern African American writers and artists. While most histories of McCarthyism focus on the ...devastation of the blacklist and the intersection of leftist politics and American culture, few include the activities of radical writers and artists from the Black Popular Front. Washington's work incorporates these black intellectuals back into our understanding of mid-twentieth-century African American literature and art and expands our understanding of the creative ferment energizing all of America during this period. Mary Helen Washington reads four representative writers—Lloyd Brown, Frank London Brown, Alice Childress, and Gwendolyn Brooks—and surveys the work of the visual artist Charles White. She traces resonances of leftist ideas and activism in their artistic achievements and follows their balanced critique of the mainstream liberal and conservative political and literary spheres. Her study recounts the targeting of African American as well as white writers during the McCarthy era, reconstructs the events of the 1959 Black Writers' Conference in New York, and argues for the ongoing influence of the Black Popular Front decades after it folded. Defining the contours of a distinctly black modernism and its far-ranging radicalization of American politics and culture, Washington fundamentally reorients scholarship on African American and Cold War literature and life.
Entertaining television challenges the idea that the BBC in the 1950s was elitist and ‘staid’, upholding Reithian values in a paternalistic, even patronising way. By focusing on a number of (often ...controversial) programme case studies – such as the soap opera, the quiz/game show, the ‘problem’ show and programmes dealing with celebrity culture – Su Holmes demonstrates how BBC television surprisingly explored popular interests and desires. She also uncovers a number of remarkable connections with programmes and topics at the forefront of television today, ranging from talk shows, 'Reality TV', even to our contemporary obsession with celebrity.The book is iconclastic, percipient and grounded in archival research, and will be of use to anyone studying television history.
In this pathfinding book, based on original archival research, Marsha F. Cassidy offers the first thorough analysis of daytime television's earliest and most significant women's genres, appraising ...from a feminist perspective what women watched before soap opera rose to prominence.
After providing a comprehensive history of the early days of women's programming across the nation, Cassidy offers a critical discussion of the formats, programs, and celebrities that launched daytime TV in America-Kate Smith's variety show and the famed singer's unsuccessful transition from patriotic radio star to 1950s TV idol; the "charm boys" Garry Moore, Arthur Godfrey, and Art Linkletter, whose programs honored women's participation but in the process established the dominance of male hosts on TV; and the "misery shows"Strike It RichandGlamour Girland the controversy, both critical and legal, they stirred up.
Cassidy then turns to NBC'sHomeshow, starring the urbane Arlene Francis, who infused the homemaking format with Manhattan sophistication, and the ambitious daily anthology dramaMatinee Theater, which strove to differentiate itself from soap opera and become a national theater of the air. She concludes with an analysis of four popular audience participation shows of the era-the runaway hitQueen for a Day; Ralph Edwards's daytime show of surprises,It Could Be You;Who Do You Trust?, starring a youthful Johnny Carson; andThe Big Payoff, featuring Bess Myerson, the country's first Jewish Miss America. Cassidy's close feminist reading of these shows clearly demonstrates how daytime TV mirrored the cultural pressures, inconsistencies, and ambiguities of the postwar era.
During the Cold War, Chinese Americans struggled to gain political influence in the United States. Considered potentially sympathetic to communism, their communities attracted substantial public and ...government scrutiny, particularly in San Francisco and New York. Between Mao and McCarthy looks at the divergent ways that Chinese Americans in these two cities balanced domestic and international pressures during the tense Cold War era. On both coasts, Chinese Americans sought to gain political power and defend their civil rights, yet only the San Franciscans succeeded. Forging multiracial coalitions and encouraging voting and moderate activism, they avoided the deep divisions and factionalism that consumed their counterparts in New York. Drawing on extensive research in both Chinese- and English-language sources, Charlotte Brooks uncovers the complex, diverse, and surprisingly vibrant politics of an ethnic group trying to find its voice and flex its political muscle in Cold War America.
Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1950s ...to 2009 in six volumes. Each volume features a critical analysis and reevaluation of the work of four key playwrights from that decade authored by a team of experts, together with an extensive commentary on the period. Modern British Playwriting: The 1950s provides an authoritative and stimulating reassessment of the theatre of the decade together with a detailed study of the work of T.S Eliot (by Sarah Bay- Cheng), Terence Rattigan (David Pattie), John Osborne (Luc Gilleman) and Arnold Wesker (John Bull). The volume sets the context by providing a chronological survey of the 1950s, a period when Britain was changing rapidly and the very fabric of an apparently stable society seemed to be under threat. It explores the crisis in the theatrical climate and activity in the first part of the decade and the shift as the theatre began to document the unease in society, before documenting the early life of the four principal playwrights studied in the volume. Four scholars provide detailed examinations of the playwrights' work during the decade, combining an analysis of their plays with a study of other material such as early play drafts, interviews and the critical receptions of the time. An Afterword reviews what the writers went on to do and provides a summary evaluation of their contribution to British theatre from the perspective of the twenty-first century.
With the outbreak of the Korean War, the poor, rural West German state of Rhineland-Palatinate became home to some of the largest American military installations outside the United States. In GIs and ...Fr auleins, Maria H ohn offers a rich social history of this German-American encounter and provides new insights into how West Germans negotiated their transition from National Socialism to a consumer democracy during the 1950s. Focusing on the conservative reaction to the American military presence, H ohn shows that Germany's Christian Democrats, though eager to be allied politically and militarily with the United States, were appalled by the apparent Americanization of daily life and the decline in morality that accompanied the troops to the provinces. Conservatives condemned the jazz clubs and striptease parlors that Holocaust survivors from Eastern Europe opened to cater to the troops, and they expressed scorn toward the German women who eagerly pursued white and black American GIs. While most Germans rejected the conservative effort to punish as prostitutes all women who associated with American GIs, they vilified the sexual relationships between African American men and German women. H ohn demonstrates that German anxieties over widespread Americanization were always debates about proper gender norms and racial boundaries, and that while the American military brought democracy with them to Germany, it also brought Jim Crow.
European intellectuals of the 1950s dismissed American culture as nothing more than cowboy movies and the A-bomb. In response, American cultural diplomats tried to show that the United States had ...something to offer beyond military might and commercial exploitation. Through literary magazines, traveling art exhibits, touring musical shows, radio programs, book translations, and conferences, they deployed the revolutionary aesthetics of modernism to prove—particularly to the leftists whose Cold War loyalties they hoped to secure—that American art and literature were aesthetically rich and culturally significant. Yet by repurposing modernism, American diplomats and cultural authorities turned the avant-garde into the establishment. They remade the once revolutionary movement into a content-free collection of artistic techniques and styles suitable for middlebrow consumption. Cold War Modernists documents how the CIA, the State Department, and private cultural diplomats transformed modernist art and literature into pro-Western propaganda during the first decade of the Cold War. Drawing on interviews, previously unknown archival materials, and the stories of such figures and institutions as William Faulkner, Stephen Spender, Irving Kristol, James Laughlin, and Voice of America, Barnhisel reveals how the U.S. government reconfigured modernism as a trans-Atlantic movement, a joint endeavor between American and European artists, with profound implications for the art that followed and for the character of American identity.
