"History from Below: The United States and Latin America in the Nixon Years." In Nixon in the World: American Foreign Relations, 1969-1977, Frederik Logevall and Andrew Preston, eds., 392-422

Author(s):  
Andrew J. Falk

Americans in and out of government have relied on media and popular culture to construct the national identity, frame debates on military interventions, communicate core values abroad, and motivate citizens around the world to act in prescribed ways. During the late 19th century, as the United States emerged as a world power and expanded overseas, Americans adopted an ethos of worldliness in their everyday lives, even as some expressed worry about the nation’s position on war and peace. During the interwar period of the 1920s and 1930s, though America failed to join the League of Nations and retreated from foreign engagements, the nation also increased cultural interactions with the rest of the world through the export of motion pictures, music, consumer products, food, fashion, and sports. The policies and character of the Second World War were in part shaped by propaganda that evolved from earlier information campaigns. As the United States confronted communism during the Cold War, the government sanitized its cultural weapons to win the hearts and minds of Americans, allies, enemies, and nonaligned nations. But some cultural producers dissented from America’s “containment policy,” refashioned popular media for global audiences, and sparked a change in Washington’s cultural-diplomacy programs. An examination of popular culture also shows how people in the “Third World” deftly used the media to encourage superpower action. In the 21st century, activists and revolutionaries can be considered the inheritors of this tradition because they use social media to promote their political agendas. In short, understanding the roles popular culture played as America engaged the world greatly expands our understanding of modern American foreign relations.


2010 ◽  
Vol 42 (3) ◽  
pp. 391-411 ◽  
Author(s):  
Kevin W. Martin

International fairs—the “folk-festivals of capitalism”—have long been a favorite topic of historians studying quintessential phenomena of modernity such as the celebration of industrial productivity, the construction of national identities, and the valorization of bourgeois leisure and consumption in the late 19th and early 20th centuries in Europe, the United States, and Latin America. To date, however, such spectacles occurring in the modern Middle East remain largely unexamined. This article, an analysis of the discourse surrounding the first Damascus International Exposition in 1954, is conceived in part as a preliminary effort to redress this historiographic imbalance.


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