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The Cold War was reflected in culture through music, movies, books, television, and other media, as well as sports, social beliefs, and behavior. Major elements of the Cold War included the threat of communist expansion, a nuclear war, and – connected to both – espionage. Many works use the Cold War as a backdrop or directly take part in a fictional conflict between the United States and the Soviet Union. The period 1953–62 saw Cold War themes becoming mainstream as a public preoccupation.

Fiction

Spy Stories

Cloak and dagger stories became part of the popular culture of the Cold War in both East and West, with innumerable novels and movies that showed how polarized and dangerous the world was.[1] Soviet audiences were thrilled by spy stories showing how their KGB agents protected the motherland by foiling dirty work by the intelligence agencies of the United States, United Kingdom, and Israel. After 1963, Hollywood increasingly depicted the CIA as clowns (as in the comedy TV series Get Smart) or villains (as in Oliver Stone's 1992 film JFK).[2] Ian Fleming's infamous spy novels about the MI6 agent James Bond also referenced elements of the Cold War when being adapted into films. One example of this includes the first Bond film, Dr. No, which was released in 1962 and used the Cuban Missile Crisis as a plot base. However, Cuba was substituted for Jamaica in the film.

Books and other works

Cinema

Use as early Cold War propaganda

During the Cold War, the United States and the Soviet Union each invested heavily in propaganda designed to sway both domestic and foreign opinion in the respective country's favor, especially using motion pictures.[8] The quality gap between American and Soviet film gave the Americans a distinct advantage over the Soviet Union; the United States was readily prepared to utilize their cinematic superiority as a way to effectively impact the public opinion in a way the Soviet Union could not. Americans hoped that achievements in cinema would compensate for America's failure to keep up with Soviet development of nuclear weapons and advancements in space technology.[9] The use of film as an effective form of widespread propaganda transformed cinema into another Cold War battlefront alongside the arms race and Space Race. Films from both the United States and Soviet Union can be seen as artifacts of propaganda as well as resistance.

US cinema

The Americans took advantage of their pre-existing cinematic advantage over the Soviet Union, using movies as another way to create the Communist enemy. In the early years of the Cold War (between 1948 and 1953), seventy explicitly anti-communist films were released.[10] American films incorporated a wide scale of Cold War themes and issues into all genres of film, which gave American motion pictures a particular lead over Soviet film. Despite the audiences' lack of zeal for Anti-Communist/Cold War related cinema, the films produced evidently did serve as successful propaganda in both the United States and the Soviet Union. The films released during this time received a response from the Soviet Union, which subsequently released its own array of films to combat the depiction of the Communist threat.

Several organizations played a key role in ensuring that Hollywood acted in the national best interest of the US, like the Catholic Legion of Decency and the Production Code Administration, which acted as two conservative groups that controlled a great deal of the national repertoire during the early stages of the Cold War. These groups filtered out politically subversive or morally questionable movies. More blatantly illustrating the shift from cinema as an art form to cinema as a form of strategic weapon, the Motion Picture Alliance for the Preservation of American Ideals ensured that filmmakers adequately expressed their patriotism. Beyond these cinema-specific efforts, the FBI played a surprisingly large role in the production of movies, instituting a triangular-shaped film strategy: FBI set up a surveillance operation in Hollywood, made efforts to pinpoint and blacklist Communists, secretly laundered intelligence through HUAC, and further helped in producing movies that "fostered [the FBI] image as the protector of the American people." The FBI additionally endorsed films, including Oscar winner The Hoaxters.[11]

In the 1960s, Hollywood began using spy films to create the enemy through film. Previously, the influence of the Cold War could be seen in many, if not all, genres of American film. By the 1960s, spy films were effectively a "weapon of confrontation between the two world systems."[9] Both sides heightened paranoia and created a sense of constant unease in viewers through the increased production of spy films. Film depicted the enemy in a way that caused both sides to increase general suspicion of foreign and domestic threat.

Soviet cinema

Between 1946 and 1954, the Soviet Union mimicked the US adoption of cinema as a weapon. The Central United Film Studios and the Committee on Cinema Affairs were committed to the Cold War battle. Under Stalin's rule, movies could only be made within strict confines. Cinema and government were, as it stood, inextricably linked. Many films were banned for being insufficiently patriotic. Nonetheless, the Soviet Union produced a plethora of movies with the aim to blatantly function as negative propaganda.

In the same fashion as the United States, the Soviets were eager to depict their enemy in the most unflattering light possible. Between 1946 and 1950, 45.6% of on-screen villains in Soviet films were either American or British.[12] Films addressed non-Soviet themes that emerged in American film in an attempt to derail the criticism and paint the US as the enemy. Attacks made by the United States against the Soviet Union were simply used as material by Soviet filmmakers for their own attacks on the US. Soviet cinema during this time took its liberty with history: "Did the Red Army engage in the mass rapes of German women and pillage German art treasures, factories, and forests? In Soviet cinema, the opposite was true in [The Meeting on the Elbe]."[13] This demonstrated the heightened paranoia of the Soviet Union.

Despite efforts made to elevate the status of cinema, such as changing the Committee of Cinema Affairs to the Ministry of Cinematography, cinema did not seem to work as invigorating propaganda as was planned. Although the anti-American films were notably popular with audiences, the Ministry did not feel the message had reached the general public, perhaps due to the fact that the majority of moviegoers seeing the films produced were, perhaps, the Soviets most likely to admire American culture.[14]

After Stalin's death, a Main Administration of Cinema Affairs replaced the Ministry, allowing the filmmakers more freedom due to the lack of direct government control. Many of the films released throughout the late 1950s and 1960s focused on spreading a positive image of Soviet life, intent to prove that Soviet life was indeed better than American life.

Russian science fiction emerged from a prolonged period of censorship in 1957, opened up by de-Stalinization and real Soviet achievements in the space race, typified by Ivan Efremov's galactic epic, Andromeda (1957). Official Communist science fiction transposed the laws of historical materialism to the future, scorning Western nihilistic writings and predicting a peaceful transition to universal communism. Scientocratic visions of the future nevertheless implicitly critiqued the bureaucratically developed socialism of the present. Dissident science fiction writers emerged, such as the Strugatski brothers, Boris and Arkadi, with their "social fantasies," problematizing the role of intervention in the historical process, or Stanislaw Lem's tongue-in-cheek exposures of man's cognitive limitations.[15]

Films depicting nuclear war

Main article: List of films about nuclear issues

Films depicting a conventional United States–Soviet Union war

In addition to fears of a nuclear war between the United States and the Soviet Union, during the Cold War, there were also fears of a direct, large scale conventional conflict between the two superpowers.

Films depicting Cold War espionage

Other films about Soviet Union–United States fears and rivalry

Television

Television commercials

Wendy's Hamburger Chain ran a television commercial showing a supposed "Soviet Fashion Show", which featured the same large, unattractive woman wearing the same dowdy outfit in a variety of situations, the only difference being the accessory she carried (for example, a flashlight for 'nightwear' or a beach ball for 'swimwear'). This was supposedly a lampoon on how the Soviet society is characterised with uniformity and standardisation, in contrast to the US characterised with freedom of choice, as highlighted in the Wendy's commercial.

Apple Computer's "1984" ad, despite paying homage to George Orwell's novel of the same name, follows a more serious yet ambitious take on the freedom vs. totalitarianism theme evident between the US and Soviet societies at the time.

Political commercials

Daisies and mushroom clouds

"Daisy" advertisement

Daisy was the most famous campaign commercial of the Cold War.[18] Aired only once, on 7 September 1964, it was a factor in Lyndon B. Johnson's defeat of Barry Goldwater in the 1964 presidential election. The contents of the commercial were controversial, and their emotional impact was searing.

The commercial opens with a very young girl standing in a meadow with chirping birds, slowly counting the petals of a daisy as she picks them one by one. Her sweet innocence, along with mistakes in her counting, endear her to the viewer. When she reaches "9", an ominous-sounding male voice is suddenly heard intoning the countdown of a rocket launch. As the girl's eyes turn toward something she sees in the sky, the camera zooms in until one of her pupils fills the screen, blacking it out. The countdown reaches zero, and the blackness is instantly replaced by a simultaneous bright flash and thunderous sound which is then followed by footage of a nuclear explosion, an explosion similar in appearance to the near surface burst Trinity test of 1945, followed by another cut to footage of a billowing mushroom cloud.

As the fireball ascends, an edit cut is made, this time to a close-up section of incandescence in the mushroom cloud, over which a voiceover from Johnson is played, which states emphatically, "These are the stakes! To make a world in which all of God's children can live, or to go into the dark. We must either love each other, or we must die." Another voiceover then says, "Vote for President Johnson on November 3. The stakes are too high for you to stay home." (Two months later, Johnson won the election in an electoral landslide.)

Bear in the woods

Bear in the woods was a 1984 campaign advertisement endorsing Ronald Reagan for President that depicted a brown bear (likely symbolizing the Soviet Union) wandering through the woods. Despite the fact that the ad never explicitly mentioned the Soviet Union, the Cold War or Walter Mondale, it thematically suggested that Reagan was more capable of dealing with the Soviets than his opponent.

Humor

See also: Kitchen debate; Russian jokes; and The Russians Are Coming, the Russians Are Coming

The 1984 "We begin bombing in five minutes" incident is an example of cold war dark humor. It was a personal microphone gaffe joke between Ronald Reagan, his White House staff and radio technicians that was accidentally leaked to the US populace. At the time, Reagan was well known before this incident for telling Soviet/Russian jokes in televised debates, many of which have now been uploaded to video hosting websites.

We begin bombing in five minutes
Problems playing this file? See media help.
My fellow Americans, I'm pleased to tell you today that I've signed legislation that will outlaw Russia forever. We begin bombing in five minutes.

The joke was a parody of the opening line of that day's speech:

My fellow Americans, I'm pleased to tell you that today I signed legislation that will allow student religious groups to begin enjoying a right they've too long been denied—the freedom to meet in public high schools during non-school hours, just as other student groups are allowed to do.[19]

Following his trip to Los Angeles in 1959 and being refused entry into Disneyland, on security grounds, a dejected Soviet Premier Nikita Khrushchev joked, "... just now I was told that I could not go to Disneyland, I asked 'Why not?' What is it, do you have rocket launching pads there?"[20] The only person more disappointed than Khrushchev was Walt Disney himself, who claimed he had been looking forward to showing off his 'submarine fleet', which was actually the Submarine Voyage ride.

Arts

See also: The CIA and the Cultural Cold War

The United States and the Soviet Union engaged in competition vis-à-vis the arts. Cultural competition played out in Moscow, New York, London, and Paris. In 1946 America opened an exhibition called 'Advancing American Art' which gained popularity with the aims of expressing American art, in response the Soviets opened a respective exhibition showcasing Soviet Realism.[21] The Soviets excelled at ballet and chess, the Americans at jazz and abstract expressionist paintings.[22] The US funded its own ballet troupes, and both used ballet as political propaganda, using dance to reflect life style in the "battle for the hearts and minds of men." The defection of a premier dancer became a major coup.[23]

Chess was inexpensive enough—and the Russians always won until America unleashed Bobby Fischer.[24] Vastly more expensive was the Space Race, as a proxy for scientific supremacy (with a technology with obvious military uses).[25] As well when it came to sports the two countries both competed in the Olympics during the Cold War period which also created severe tension when the West boycotted the first Russian Olympics in 1980.[26]

Music

1940s

External audio
audio icon You may listen to CBS's Alfredo Antonini with tenor Nestor Mesta Chayres, accordionist John Serry Sr. and the CBS Pan American Orchestra performing Agustin Lara's bolero Granada in 1946 here

As President Franklin D. Roosevelt died and World War II concluded with the detonation of nuclear weapons over Japan in 1945, the stage was quickly set for the emergence of Cold War hostilities between the new superpowers in 1946. Musicians concertizing in the United States during this period were suddenly exposed to rapidly shifting diplomatic and political circumstances.

In 1946 the US State Department assumed control of the cultural diplomacy initiatives in South America which were initiated in 1941 by President Roosevelt's Office of the Coordinator of Inter-American Affairs.[27][28][29] At first, the State Department continued to encourage leading musicians to concertize and broadcast music in support of its Pan-Americanism policy in the region through its Office of International Broadcasting and Cultural Affairs.[30] As a result, live radio broadcasts to South America by such musicians as Alfredo Antonini, Néstor Mesta Cháyres and John Serry Sr. on CBS's Viva América show continued into the first years of the cold war era.[31][32][33] As the decade came to a close, however, the focal point for American foreign policy shifted toward the superpower rivalry in Europe and such cultural broadcasting to South America was gradually eliminated.[34]

1950s and 1960s

See also: The CIA and the Cultural Cold War

Musicians of these decades, especially in jazz and folk music, were influenced by the shadow of nuclear war. Probably the most famous, passionate and influential of all was Bob Dylan, notably in his songs "Masters of War" and "A Hard Rain's a-Gonna Fall" (written just before the Cuban Missile Crisis). In 1965 Barry McGuire's version of P. F. Sloan's apocalyptic "Eve of Destruction" was a number one hit in the United States and elsewhere.

Van Cliburn was a pianist who was celebrated with a ticker tape parade after winning a musical competition in the Soviet Union.

From 1956 through the late 1970s, the US State Department sent its finest jazz musicians to show off music that appealed to youth, to demonstrate racial harmony at home, and to undergird freedom as jazz was a democratic music form, free flowing and improvised. Jazz tours of the Soviet Union were organized in 1956, and lasted through the 1970s.[35][36]

In addition to jazz, the US State Department also supported the performance of classical music by noteworthy American orchestras and soloists as part of its cultural diplomacy initiatives during the cold war. During the 1950s, the bass-baritone William Warfield was recruited by the Department of State to perform in six separate European tours which featured productions of the opera Porgy and Bess .[37][38][39] In 1961-1962 Howard Hanson's Eastman Philharmonia Orchestra at the Eastman School of Music was selected to represent the nation on an international concert tour which included thirty four cities and sixteen countries in Europe, the Middle East and Russia.[40]

External audio
audio icon You may listen to radio broadcasts of performances by Samuel Adler and members of the Seventh Army Symphony Orchestra from 1956–2006 here on 7aso.org

The United States Seventh Army also played an integral role in supporting cultural diplomacy and strengthening international ties with Europe during the cold war. The Seventh Army Symphony Orchestra was founded by Corporal Samuel Adler in Stuttgart, Germany as part of an effort by the US Army to demonstrate the common cultural heritage which existed in the United States, its European allies and the conquered nations in Europe during the cold war period. The orchestra concertized extensively throughout Europe from 1952 until 1961 and performed works from the classical repertoire as well as contemporary compositions from the United States. Listed among the ensemble's earliest "musical ambassadors" were several young conductors including: John Ferritto, James Dixon, Kenneth Schermerhorn and Henry Lewis.[41][42][43]

Later

Many protest songs during the 1980s reflected general unease with escalating tensions between the Soviet Union and the United States brought on by Ronald Reagan's and Margaret Thatcher's hard line against the Soviets. For example, various musical artists wore military uniform-like costumes, as a reflection of the increased feeling of militarism seen in the 1980s. Songs symbolically showed the superpowers going to war, as in the Frankie Goes to Hollywood song "Two Tribes". This song's MTV music video featured caricatures of United States President Ronald Reagan and Soviet General Secretary Konstantin Chernenko in a wrestling match.

Other songs expressed fear of World War III, as in the Sting song, "Russians", with lyrics such as "I don't subscribe to his [Reagan's or Khrushchev's] point of view" (that Reagan would protect Europe, or that Khrushchev would "bury" the West). Other examples include Sly Fox's "Let's go all the way", a song about "going all the way" to nuclear war, The Escape Club's "Wild Wild West" with its various references to the Cold War and Fischer-Z's album "Red Skies over Paradise". The Genesis song "Land of Confusion" expressed a desire to make some sense out of the world, especially in relation to nuclear war.

A number of punk rock bands from the 1980s attacked Cold War era politics, such as Reagan's and Thatcher's nuclear deterrence brinkmanship. A small sampling includes The Clash, Dead Kennedys, Government Issue, Fear, Suicidal Tendencies, Toxic Reasons, Reagan Youth, etc. Noted punk compilation P.E.A.C.E. included bands from around the world in an attempt to promote international peace. The Scars covered apocalyptic poem "Your Attention Please" by Peter Porter, a radio broadcast announcing nuclear war.

Probably the most famous of the 1980s songs against increased confrontation between the Soviets and the Americans was Nena's "99 Luftballons", which described the events – ostensibly starting with the innocent release of 99 (red) toy balloons – that could lead to a nuclear war.

The Swedish band Imperiet's "Coca Cola Cowboys" is rock song about how the world is divided by two super powers that both claim to represent justice.

Roman Palester, a classical music composer had his works banned and censored in Poland and the Soviet Union, as a result of his work for Radio Free Europe, even though he was thought to be Poland's greatest living composer at the time.[44]

Musicals and plays

Consumerism

Historians debate whether the spread of American-style consumerism to Western Europe (and Japan) was part of the Cold War. Steigerwald reviews the debate by looking at the book Trams or Tailfins? Public and Private Prosperity in Postwar West Germany and the United States (2012) by Jan L. Logemann:

In arguing that West Germany was not "Americanized" after the war, Logemann joins a long debate about American consumer capitalism's power, sweep, and depth of influence in the developed world through the second half of the twentieth century. In pointed contrast to Reinhold Wagnleitner's Coca-colonization and the Cold War (1994) and Victoria de Grazia's Irresistible Empire (2005), Logemann argues that, for all the noisy commentary, pro and con, about postwar Americanization, West Germans shaped their version of the affluent society according to deeply held and distinctly un-American values. Rather than a sweeping homogenization of the developed world, postwar affluence ran along "different paths to consumer modernity" ... Instead of the "consumer-as-citizen" (whom Lizabeth Cohen, in The Consumer's Republic [2003], defined as the main social type in postwar America), West Germans promoted the social consumer who practiced "public consumption," which Logemann defines as "the provision of publicly funded alternatives to private consumer goods and services in areas ranging from housing to transportation or entertainment" (p. 5).[45]

The Freakonomics Radio podcast episode "How the Supermarket Helped America Win the Cold War (Ep. 386)"[46] explores the impact that the supermarket had and has on American culture, including the depth of policy decisions by the US Government that impacted agriculture, as well as serving a propaganda weapon against the Soviet Union. The role of makeup and the consumption of makeup played a role in society and propaganda, and in the conflict between capitalism and communism.[47]

Sports

Cold war tensions between the US and the USSR were the backdrop of sports competitions, especially in hockey and in the Olympics of 1980 and 1984.[48]

Playground equipment

Main article: Cold War playground equipment
Rocketship slide in Richardson, Texas

Playground equipment constructed during the Cold War was intended to foster children's curiosity and excitement about the Space Race. It was installed in both Communist and non-Communist countries throughout the Cold War.

Video games

Games created during this time period often used a motif of nuclear war, as was the threat at that time. Some of the games listed have been made after the conclusion of the Cold War, but feature a central plot point around the Cold War.[49][50][51]

Protest culture

Women Strike for Peace during the Cuban Missile Crisis

Main article: Anti-nuclear protests

See also: Counterculture of the 1960s

Anti-nuclear protests first emerged in the late 1950s and early 1960s.[52] In the United Kingdom, the first Aldermaston March, organised by the Campaign for Nuclear Disarmament, took place in 1958.[53][54] In 1961, at the height of the Cold War, about 50,000 women brought together by Women Strike for Peace marched in 60 cities in the United States to demonstrate against nuclear weapons.[55][56] In 1964, Peace Marches in several Australian capital cities featured "Ban the bomb" placards.[57][58]

In the early 1980s, the revival of the nuclear arms race triggered large protests about nuclear weapons.[59] In October 1981 half a million people took to the streets in several cities in Italy, more than 250,000 people protested in Bonn, 250,000 demonstrated in London, and 100,000 marched in Brussels.[60] The largest anti-nuclear protest was held on June 12, 1982, when one million people demonstrated in New York City against nuclear weapons.[61][62][63] In October 1983, nearly 3 million people across western Europe protested nuclear missile deployments and demanded an end to the arms race; the largest crowd of almost one million people assembled in the Hague in the Netherlands.[64] In Britain, 400,000 people participated in what was probably the largest demonstration in British history.[65]

Other

See also

References

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  11. ^ Shaw and Younglood, Cinematic Cold War (2010) pp 20-21
  12. ^ Shaw, Youngblood, Tony, Denise J. (2010). Cinematic Cold War: The American Struggle for Hearts and Minds. Kansas: University Press of Kansas. pp. 41–42.((cite book)): CS1 maint: multiple names: authors list (link)
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  27. ^ Dissonant Divas in Chicana Music: The Limits of La Onda Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 152-155 ISBN 978-0-8166-7316-2 OCIAA (Office of the Coordinator of Inter-American Affairs), DR's Good Neighbor Policy, CBS, Viva America, La Cadena de las Americas radio network on google.books.com
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  33. ^ Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection: Autographed Photograph of John Serry accordionist on CBS' C de Las A program circa 1940s p. 3, Series 3, Collection Box 3, Item 1: The John J. Serry Sr. Collection archived at the University of Rochester Eastman School of Music
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  58. ^ Girl with placard Ban nuclear tests during Peace march on Sunday April 5th 1964, Brisbane, Australia Retrieved 8 February 2010.
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  63. ^ 1982 One million people march in New York City Archived June 16, 2010, at the Wayback Machine
  64. ^ David Cortright (2008). Peace: A History of Movements and Ideas, Cambridge University Press, p. 148.
  65. ^ Lawrence S. Wittner (2009). Confronting the Bomb: A Short History of the World Nuclear Disarmament Movement, Stanford University Press, p. 144.
  66. ^ Whitfield, Stephen J., The Culture of the Cold War, page 71

Further reading

  • Belmonte, Voir Laura A. "A Family Affair? Gender, the US Information Agency, and Cold War Ideology, 1945-1960." Culture and International History, (2003): 79–93.
  • Brooks, Jeffrey. Thank You, Comrade Stalin!: Soviet Public Culture from Revolution to Cold War (2001) excerpt and text search
  • Day, Tony and Maya H. T. Liem. Cultures at War: The Cold War and Cultural Expression in Southeast Asia (2010)
  • Defty, Andrew. Britain, America and Anti-Communist Propaganda 1945-53: The Information Research Department (London: Routledge, 2004) on a British agency
  • Devlin, Judith, and Christoph H Muller. War of Words: Culture and the Mass Media in the Making of the Cold War in Europe (2013)
  • Fletcher, Katy. "Evolution of the Modern American Spy Novel." Journal of Contemporary History (1987) 22(2): 319–331. in Jstor
  • Footitt, Hilary. "'A hideously difficult country': British propaganda to France in the early Cold War." Cold War History (2013) 13#2 pp: 153–169.
  • Gumbert, Heather. Envisioning Socialism: Television and the Cold War in the German Democratic Republic (2014) excerpt and text search
  • Hammond, Andrew (2013). British Fiction and the Cold War. Palgrave Macmillan. p. 86. ISBN 9781137274854.
  • Hendershot, Cynthia (2001). I was a Cold War Monster: Horror Films, Eroticism, and the Cold War Imagination. Popular Press. ISBN 9780879728496.
  • Hixson, Walter L. Parting the curtain: Propaganda, culture, and the Cold War (New York: St. Martin's Press, 1997)
  • Iber, Patrick, Neither peace nor freedom: The cultural Cold War in Latin America. Cambridge: Harvard University Press 2015.
  • Jones, Harriet. "The Impact of the Cold War" in Paul Addison, and Harriet Jones, editors, A Companion to Contemporary Britain: 1939-2000 (2008) ch 2
  • Kuznick, Peter J. ed. Rethinking Cold War Culture (2010) excerpt and text search
  • Major, Patrick. "Future Perfect?: Communist Science Fiction in the Cold War." Cold War History (2003) 4(1): 71–96.
  • Marwick, Arthur. The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c.1958-c.1974 (Oxford University Press, 1998).
  • Miceli, Barbara. "Super-secret spies, living next door: Family and Soft Power in The Americans". "Screening American Nostalgia" (edited by Susan Flynn and Antonia McKay), (McFarland, 2021, pp. 80–98).
  • Orwell, George. (1949). Nineteen-Eighty-Four. London: Secker & Warburg. (later edn. ISBN 0-451-52493-4)
  • Polger, Uta G. Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany (2000)
  • Shaw, Tony. British cinema and the Cold War: the state, propaganda and consensus (IB Tauris, 2006)
  • Shaw, Tony. and Denise J. Youngblood. Cinematic Cold War: The American Struggle for Hearts and Minds (University Press of Kansas, 2010). excerpt and text search
  • Vowinckel, Annette, Marcus M. Pavk and Thomas Lindenberger, eds. Cold War Cultures: Perspectives on Eastern & Western Societies (2012)

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