What does “an open body” say: the body and the Cold War in the early 1980s theatre of Taiwan

2018 ◽  
Vol 19 (4) ◽  
pp. 568-577
Author(s):  
Chun-yen Wang
Keyword(s):  
Cold War ◽  
The Body ◽  
Author(s):  
Joshua Glick

The Sputnik launch, the network quiz-show scandals, and the election of President John F. Kennedy inspired the desire to strengthen the body politic through educational forms of mass media. This chapter argues that Wolper Productions occupied an essential position on the cultural front of Kennedy’s New Frontier. Documentaries about citizens, politicians, and the Cold War functioned as narratives of assurance. With the assassination of Kennedy, Wolper Productions became the preeminent custodian of the fallen president’s memory. The studio’s films documenting Kennedy’s rise to the highest office (The Making of the President: 1960 [1963]) and his death (Four Days in November [1964]) performed an important social function during the period of transition to the Johnson administration.


2020 ◽  
Vol 16 (Number 1) ◽  
pp. 49-68
Author(s):  
Adeniyi S. Basiru ◽  
Olusesan A. Osunkoya

While the Cold War lasted, the Organization of African Unity (OAU) never considered democracy promotion in member states as a priority. What mattered to the body was the safeguard of the sovereignties of member states. The globalization of the third democratic wave however, changed that as democracy promotion, courtesy of Donor’s aid agenda became a core objective of the OAU/AU. Deploying descriptive, historical, and analytical methods of inquiry with a focus on the African Charter on Democracy, Elections, and Governance (ACDEG), this article assesses the extent of AU’s commitments to promoting democracy in Africa. Following an extensive review of conceptual literature on democracy, as well as relevant studies on OAU/AU’s democracy promotion initiatives in Africa, it notes that OAU/AU, no doubt, has robust normative frameworks for dealing with an unconstitutional change of government and other actions that could constitute a threat to the growth of democracy in Africa but in enforcing these frameworks, it is often stuck between a rock and a hard place. It suggests, among others, the strengthening of the enforcement mechanisms of the organization.


Author(s):  
Dorota Ostrowska

This chapter focuses on the representation of the dynamics of the body in flight in selected Polish films from the period of state socialism including The Case of Pilot Maresz, Against Gods, To Destroy the Pirate and On the Earth and in the Sky. The discussion centers on the idea of ‘socialist aerial bodies’, which is informed by Paul Virilio's reflection about the relationship between the body and technologies developed for the most part during the Cold War, which coincided with the period of state socialism in Poland. Virilio’s arguments are not nuanced in the way that reflects the differences in the impact that war technologies, such as flying, might have had in the socialist context as opposed to the non-socialist one with which he was much more familiar. This chapter is an attempt to fill this gap in Virilio's reflection on the aerial body by discussing the development of a specific representation of the body, referred to here as a ‘socialist aerial body’, which is impacted not only by the advancements in the technologies of flying, but also by ideological concerns - some of them unique to the socialist context.


1995 ◽  
Author(s):  
Wallis Miller ◽  

Since the beginning of the 18th century, the instability of the PrussianIGerman state has affected the shape of Berlin. Constant shifts in the boundaries of the empire as well as in its ideology have forced countless architectural redefinitions of the center of its capital. The decisions to preserve, renovate, or replace Berlin’s monuments have thus always been caught between considerations of their ideological impact and their effect on the body of historic docurnentation. Schinkel’s Neue Wache grew out of this tension. It was originally designed and subsequently renovated at significant points of change in German history: it was designed after the defeat of Napoleon and renovated after WWI, modified during the Nazi period, and substantially changed at three points after WWII: in the early years of the German Democratic Republic, at the height of the Cold War, and after reunification in 1993. Consequently, its architecture has always borne traces of history consciously transformed by the ideologies of the present.


2021 ◽  
Vol 40 (3) ◽  
pp. 183-199 ◽  
Author(s):  
Emily J. H. Contois

Written for laughs in 1982, Bruce Feirstein’s Real Men Don’t Eat Quiche: A Guidebook to All that Is Truly Masculine hit a real and raw nerve among American men. Beneath its jokes, the book documented a moment of 1980s gender crisis that pitted older constellations of masculinity against ‘the new man’. This article analyses how Real Men Don’t Eat Quiche and its cookbook sequel communicated this gender anxiety through food and the body specifically, considering the context of the Cold War, notable transitions in nutrition science and policy, and period food and fitness trends. Although many readers today may not know the origin of Feirstein’s book’s titular phrase, notions of ‘real men’ and gendered food still have cultural endurance, often deployed as a shorthand for hegemonic gender norms that pose destructive consequences 40 years later.


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