The Products of Hollywood during The Cold War

During the 1950's many of the films produced in Hollywood were either scare based films on a seemingly inevitable attack from communism, or could be explictily defined as Russians fighting Americans.'Invasion of the Body Snatchers' (1956) was one of these scare movies. The underlying themes can be seen in characters such as the 'pod people', who are invading the small town of Santa Mira and come from a different planet and replace the town's citizens with identical, monotonous drones, a blatant metaphor for the infiltration of communism into the white picket fenced communitys of surburban America. Other themes can be depicted through the satirical paranoia that surrounded the early years of the Cold War especially during the era of the HUAC.The narrative to 'Invasion of the Body Snatchers' illustrates Communism as an prevalent threat, reflecting the climate of this period of the Cold War.Two years previous to its release, CBS paid Ian Fleming for the rights to adapt his novel 'Casino Royale'. James Bond made his debut in the television programme 'Casino Royale' in 1954 . The brief narrative see's the secret agent (James Bond) who works for the British Secret Service, facing a powerful high-rolling Russian operative called 'Le Chiffre'. The themes of fighting the spread of communism are evident here. Although the operative does cause a threat to the safety of many, it was the beginning of Russians and many other known enemies in the antagonist character role. However James Bond is a British character, and so perhaps this plot and subsequent films to follow, can be adapted to the idea that if the Cold War ever diversified into a war of conflict, it might act as a rallying cry for other nations to allie themselves with America.On the back of significant events in China, after bombing Quemoy, and with the Cuban revolution evolving into guerilla movements across Latin America, America saw the release of an epic momumental film. 'Ben-Hur' was released in 1959, starring Charlton Heston and Jack Hawkins, the brief plot outline see's the tale of a Jewish prince and his fight to revenge the alleged attack on the governor, something he is committed of and thrown into the gallerys for. The film shows action of Christians fighting Romans, however some have perceived the Christians to be American and the Romans as Russians. This putting a whole new aspect to the film.Similar to the theme of James Bond, it shows a literal conflict between the two superpowers, also a motivating and inspiring ambience portrayed to the audience, depicting the strength of the American side. To have a major mainstream film, which was so welcomed by the usually conservative Academy Awards, shows us that even Americans large institutions supported the campaign on Communism.'The Manchurian Candidate' is a film adapted from the 1959 thriller novel written by Richard Condon. A Cold War thriller, it was directed by John Frankenheimer and starred Frank Sinatra, Laurence Harvey, Angela Lansbury and Janet Leigh. The central concept of the book and the subsequent 1962 film is that the son of a prominent political family has been brainwashed into becoming an unwilling assassin for the Communist Party. The film had its national release on Wednesday, October 24, 1962, at the height of the Cuban missile crisis, thus it's content was highly controversial and bordering radicalism at the time of its release.Continuing with the theme of this assignment, it shows the threat of communism rather than the fight to contain it. Putting America in an uncomfortable siutation as it once again showed what could happen if they did not act faster. One year later John.F.Kennedy was shot by an assasin, although the shooter was never identified as Russian, there were many conspiracy theories linking numerous enemies of America to the murder. The film was then banned until the 1980's when it was re-released and noted for the courage of the producers in the powerful narrative. Since its re- release there has followed a remake starring Denzel Washington in 2004.'A chapter of the American Legion in southern California declared the film was proof that communists again were infiltrating the movie industry and called for renewed investigations of Hollywood by the House for Un-American Activites Committee (HUAC). When 'The Manchurian Candidate' opened at one theater in Orange County, California, Communist party members found themselves picketing the movie alongside anti-communist extremists from the John Birch Society.' (Paul Monaco, The Sixties, 2001: 171)This illustrates how nearly twenty years into the Cold War, anti-communist feelings were still rife through the movie industry. America still felt unsure of who was trustworthy, something which only worsened with the assasination of JFK. The Cold War had become a vast and lengthy crisis through America, and with more turbulent times ahead in the form of the Vietnam War, the atmosphere surrounding Americas foreign policy could only be fueled more so by Hollywood.'Dr.Stranglove, or: How I Learned to Stop Worrying and Love the Bomb' (1964) is an adaptation of the Cold War thriller novel ' Red Alert'. The film directed by Stanley Kubrick, is a black comedy based around the fragile nature of the Cold War and the doctrine of mutual assured horrific ending, if either launched nuclear missiles. In 1989 the film was deemed 'Culturally Significant' by the United States Library of Congress/ The film saw a delay as it was was due for previews on November 22nd 1963, the day JFK was assasinated. Subsquently they postponed the event until January 1964, in sympathy towards the public and the Kennedys. The main themes of the film are satiricalising the point that if either country (America or Soviet Russia) launched an attack it would inenvitably be the end of humanity.'The script's broad humour, along with Kubrick's uncanny skill for integrating the bizarre into an underlying and pervasive aesthetic of realism, pointed toward comedy and irreverence that delighted student- ages audiences. 'Dr.Stranglove' brought what some critics labeled as 'sick humour' directly into the mainstream of the American commercial cinema.' (Paul Monaco, The Sixties, 2001: 172)Because the conflict was developing into a physical war in Vietnam, anti- war feeling combined with the 'hippie' movement grew stronger thus filmmakers were no longer afraid to demonstrate the Cold War in a more casual manner. Although some of the themes evident in 'Dr.Strangelove' were true, the techniques and surrealist nature of the film provided a much more laid back approach to Cold War depiction, yet still maintaining a respectable position in Hollywood.From 1965 onwards, emphasis on the Cold War waned, and filmmakers began to produce more material on the Vietnan conflict, such as, 'Apocalypse Now'(1979) and 'Full Metal Jacket' (1987). However towards the latter period of the US-Soviet tension, which coincided with the fall of the Berlin Wall and radical reform in Eastern Europe, filmmakers once again toyed with the fundamentals of the Cold War conflict. This can be seen in 1980's re-emergence of Cold War idealogies such as in, 'Rocky IV' (1985) where the titular Rocky takes on and ultimately defeats Soviet boxer Ivan Drago, who is represented as a cold, characterless machine, which shares similar themes with 'Invasion of the Body Snatchers' where everyone is devoid of characterisation.'The pressure on Hollywood as a system started, then, in the 40's but it was not until the 60's that it introduced a real change in popular culture. There is today a different pattern of consumption that had brought a more varied distribution system into operation.' (Lawrence Alloway, Violent America: The Movies 1946-1964, 1971: 22)This statement directly links with present day reflections on war and its place in film. For instance with the current occupation of Iraq, we do not necessarily see numerous film narratives depicting it. Due to sensitivity values and discent among the American people, there is no need for propaganda based films, as it is portrayed to us through news media outlets. However in rare occurances where modern conflict is illustrated such as 'Jarhead' (2005) based on the events leading up to the 1991 Gulf War, it is promoted in a positive light and shows the American protagonists as heroes.As America and the rest of the world face ever more terrorist threats and warfare, films and television are constantly being produced to promote or demote America's foreign policies, however since the catastrophe of September the 11th, government bodies and Film Institutes are rationalising what they broadcast through Hollywood.Where as in the period of the Cold War, filmmakers were quick to react to the crisis through the medium of film, in present day we are more reserved in the depiction of current war as it is seen as somewhat insensitive to victims and their families but also the abundance of information at our disposal through internet, television, newspapers and radio makes these films irrelevant by the time they are released.

Drug Use in '24 Hour Party People'...

The film '24 hour party people', made in 2002 but set around the 1970's until the 1990's, when 'Acid House' and ecstasy were at their peak reflects a time when it was bands such as the Happy Mondays that indirectly promoted these drugs to the youth market. Sarah Thornton states;'As a result, 'moral panic' has become a routine way of marketing popular music to youth.' (Sarah Thornton, Club Culture: Music, Media and Subculture Capital, 1995: 120)This theory can be applied to drug culture, as the music surrounding the rave scene was marketed due to the moral panics associated with their drug taking. But at the same time the youth who admired and followed the bands of this time could be persuaded to partake in their counterpart's activities.The film is set around the Manchester music scene, and although is one of distinct precedence now, at the time similar events could be seen though- out the country. The film is focused on the music but it also gives us an in-depth look into the lifestyles of some of the icons of the time (and some which have transgressed into present day icons) demonstrating how the youth of those decades could contract similar habits, and make rave and drug culture thrive.Mark 'Bez' Berry, an integral figure who can possibly lay claim to the reason the Happy Monday's success skyrocketed, is portrayed in the film as the drug ambassador, when the band is casually relaxing around a bar, he says, 'Can I offer anyone the best drug experience they've ever had?', Steve Coogans narration describes him as the chemist, with his favourite chemical being Ecstasy.An extract from an interview with the Happy Mondays in November 1988 serves to reinforce this image of the band and the youth market to which they appealed. Shaun Ryder says, tongue firmly in cheek;'Happy Mondays have a reputation as a drugs band. It's a subject to broach carefully, but it has to be brought up. "I don't take drugs. I'm totally against self-abuse of any kind. I don't even smoke ciggies." Shaun sits back. There's a moments silence and then the rest of the band collapse into fits of laughter.' (Stuart Maconie, NME Magazine Interview with the Happy Mondays, 19th November 1988:16)The band were the heroes of the young generation at the time, they wanted to follow their example and imitate their role models. This contributed to a surge in ecstasy in the late 1980's.Although the film '24 Hour Party People' does not demonstrate to us a specific fear of moral panic surrounding ecstasy, it is a prominent subplot through-out the film, so much so that the tagline shown on promotion artwork nationwide was 'Share the Ecstasy', a double entendre for sharing the excitement around the music scene of the time, but also sharing the drug that was in widespread use. The film is a firm basis for any understanding of society in that era when ecstasy really began to influx into the streets and clubs of Britain.A later scene in the film shows us that ecstasy however rife through the Hacienda was a mere stepping stone onto other more extreme moral panics that lay ahead. The scene depicts images of the Hacienda nightclub, ecstasy and drug dealers with plenty of money made from selling drugs to the population of the 'Madchester' scene, the narration, again by Steve Coogan (playing Tony Wilson-head of Factory Records and emissary of the movement) talks the audience through the vicious circle of the unknowing contributors to the demise of the Hacienda. Drug dealers would push ecstasy through-out many club nights and gigs at the Hacienda, consequently meaning that the users would not be purchasing alcoholic drinks from the bar, and so Factory lost out. The drug dealers were the ones to benefit from the club goers seemingly insatiable thirst for ecstasy and came back week upon week with more drugs and eventually brought gun crime inside the Hacienda doors. This then inevitably led to the closure of the nightclub, after a fatal shooting and too many near misses, setting in motion much negative publicity surrounding the youth market and their particular habits of the weekend. This growing wave of public opinion pushed further the closure of the Hacienda, stripping the youth of Manchester and many neighbouring areas of their escapism from the suppressive government and will enforcers.The government's public image at this time was at an all time low, particularly among the youth who saw Thatcherites as trying to stifle their weekend activities. An extract from an article in the Guardian newspaper on January 16th 2004 demonstrates this;'Then, in 1988, during what became known as the second summer of love, ecstasy seemed to have found its spiritual home in a flagging Thatcher's Britain. The nation's youngsters began to congregate in their thousands in fields and warehouses. In acid house they had their music, in fluorescent T-shirts and smileys they had their fashion, and in ecstasy, at L25 a pill, they had their drug.' (http://www.guardian.co.uk/g2/story/0,3604,1124163,00.html Accessed 08/12/2007)The reference in this extract to a flagging Thatcher's Britain is poignant to the historical context due to the youth reveling in the seeming demise of the country under the iron grip of the Iron Lady. The economy was in crisis and government institutions were being sold off contributing to the low moral of society, however through-out times of despair the youth seemed to thrive. They were past feelings of negativity and had moved on into a phase of euphoria fueled by ecstasy. MDMA has been produced since around 1914, and coming through Britain for just under one hundred years, however it was the summer of 1987 that first saw the widespread use of the drug. It is often referred to as a 'weekend' drug by its advocates because the users will only take ecstasy when out on a Friday or Saturday night, rather than keep it in constant use.