By Martin Halliwell
This publication offers a stimulating account of the dominant cultural kinds of Nineteen Fifties the United States: fiction and poetry; theatre and function; movie and tv; song and radio; and the visible arts. via specific remark and concentrated case reports of influential texts and occasions -- from Invisible guy to West aspect tale, from Disneyland to the Seattle World's reasonable, from Rear Window to The americans -- the publication examines the way modernism and the chilly battle supply frames of reference for realizing the trajectory of postwar culture.The center goals of this quantity are to chart the altering complexion of yankee tradition within the years following global conflict II and to supply readers with a serious research of 'the 1950s'. The publication presents an highbrow context for drawing close Fifties American tradition and considers the old influence of the last decade on contemporary social and cultural advancements. Key Features:Focused case experiences that includes key texts, genres, writers, artists and cultural trendsChronology of Nineteen Fifties American CultureBibliographies for every chapterMore than twenty illustrations
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Extra resources for American Culture in the 1950s (Twentieth Century American Culture S.)
15 Rather than dealing with it in the precise way that Kennan and the cold war policymakers had intended, cultural historians Stephen Whitfield, Lary May, Margot Henrikson, Alan Nadel and Mary Dudziak all treat containment as a general metaphor of social restriction in cold war America. It was central to Kennan’s philosophy of political realism in the late 1940s and his warning that the nation must be watchful and vigilant against security threats, particularly from an ambitious Soviet Union. But postwar containment also had negative connotations, suggesting that classified information was being withheld or that citizens were being duped into believing the official line from Washington.
Anti-American sentiments and French cultural superiority were rife. 72 Nevertheless, many Americans saw Paris as their point of connection to Europe, both geographically and culturally. It is significant that the reason why ex-GI and wannabe painter Jerry Mulligan, played by Gene Kelly in An American in Paris (1951), is befriended by Parisian boys is that he brings bubble-gum and optimism to the war-torn city. Other musicals such as April in Paris, Gentlemen Prefer Blondes and Funny Face use a Parisian setting to emphasize romance and glamour, but the city was also used for more strategic reasons as the gateway for American culture into Europe.
The image of the ‘phoney’ runs through 1950s literature: from Holden Caulfield’s concerns about the lack of authenticity in The Catcher in the Rye (1951) and Norman Mailer’s exposure of shallow Hollywood culture in The Deer Park (1955), to the hidden identity of the carefree socialite Holly Golightly in Truman Capote’s Breakfast at Tiffany’s (1958) and the lack of authentic religion in the South as portrayed by Flannery O’Connor’s Wise Blood (1952). Other texts such as Jack Kerouac’s On the Road (1957) and Robert Frank’s photographic study The Americans (1958) attempted to rediscover the The Intellectual Context 11 possibility of genuine experience in a decade where everything was open to salesman’s spin and Madison Avenue repackaging.
American Culture in the 1950s (Twentieth Century American Culture S.) by Martin Halliwell