Narrative Innovation and Cultural Rewriting in the Cold War Era and after by Marcel Cornis-Pope

2004 ◽  
Vol 34 (1) ◽  
pp. 346-347
Author(s):  
David Seed
Keyword(s):  
Cold War ◽  
Author(s):  
Raymond A. Patton

The conclusion condenses the book’s argument that punk developed through networks that crossed all three worlds through intertwined phenomena of immigration, postmodernism, and globalization; that punks and societies’ reactions to it defied and subverted the fundamental assumptions and categories of the Cold War era; and that punk provoked a realignment away from sociopolitical, ideological categories and toward a new framework emphasizing identities as conservatives and progressives. It briefly examines the post-1989 punk scenes of the East and West; many punks felt as dissatisfied with the global neoliberal order as they were with the Cold War world and often joined the new antiglobalization movements of the East and West. It concludes with the example of Pussy Riot in Russia, which shows that punk retained its power to consolidate forces of reaction (Putin, the Orthodox Church, and conservative public opinion) and cultural progressives alike long after the end of the Cold War.


Author(s):  
Matthew K. Shannon

The introduction reconstructs Iran’s historical educational ties the West and explains how the United States became the primary destination for Iranian student during the Cold War era. It also engages with various historiographies to situate the book within the appropriate scholarly context.


Author(s):  
Lisa Westwood ◽  
Beth Laura O’Leary ◽  
Milford Wayne Donaldson

This chapter expands on the notion of Apollo Culture in greater detail, beginning with an historic context of the Cold War era. It takes a look at the Sputnik and Vanguard launches during the IGY (International Geophysical Year) Space Race, and explains how these political and social events of the mid-20th century set the stage for the rise and fall of the Apollo program- which required a combination of engineering, marketing, and scientific efforts by the federal government.


Author(s):  
Ajay Gehlawat

This chapter uses Bollywood Bond “adaptations” to chart the shifting relationship between India and the West, from the Cold War era to the neoliberal present. It examines how elements of the Bond films were incorporated and “Indianized” in earlier films and how these elements, and the Bollywood film itself, subsequently became more globalized, as can be seen in contemporary Bond adaptations like Farhan Akhtar’s Don (2006) and Don 2 (2011). Whereas previously the Bond figure was “Indianized” and elements of the Bond film similarly indigenized via the Bollywood masala formula, what one witnesses in the ensuing transition leading to the contemporary era is how the Bollywood film has become more aligned, both aesthetically and culturally, with contemporary Hollywood film forms.


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