scholarly journals Live From Moscow

2012 ◽  
Vol 1 (2) ◽  
pp. 45 ◽  
Author(s):  
Lars Lundgren
Keyword(s):  
Transmission Network ◽  
Iron Curtain ◽  
East And West ◽  
Yuri Gagarin

On April 14th, 1961, television viewers across Europe watched live images of Yuri Gagarin being celebrated on the Red Square in Moscow. The broadcast was made possible by the linking of the Intervision and Eurovision television networks, which was the result of cooperation between broadcasters on both sides of the Iron Curtain. By looking into how the co-operation between the OIRT and EBU was gradually developed between 1957 and 1961 this article engages with the interplay between cultural, legal and technological aspects of broadcasting and how the transnational broadcast of Gagarin’s return to Moscow was made possible. The article furthermore argues the need to understand early television in Europe as a dialectic between the national and the transnational and shows how the live transmission network binding the East and West together was the result of an interplay between structures provided by transnational organisations such as the OIRT and EBU, and initiatives by national broadcasting organisations.

Lukewarm Neutrality in a Cold War? The Case of Austria

2016 ◽  
Vol 18 (4) ◽  
pp. 36-50 ◽  
Author(s):  
Erwin A. Schmidl
Keyword(s):  
Cold War ◽  
Soviet Union ◽  
Collective Identity ◽  
Military Occupation ◽  
Iron Curtain ◽  
The Soviet Union ◽  
East And West ◽  
The Cold War ◽  
Other Orientation ◽  
Over Time

Geographically, Austria's position during the Cold War differed significantly from that of Switzerland or Sweden, let alone Ireland. Austria, like Finland, was situated along the Iron Curtain. In 1945, Austria was divided between East and West, and the Soviet Union hoped that the Austrian Communists could quickly gain power by largely democratic means. This effort failed, however, when the Communists lost decisively in the November 1945 elections. Over the next decade, Austria remained under Soviet and Western military occupation. The formal adoption of a neutral status for Austria in May 1955, when the Austrian State Treaty was signed, was a compromise needed to ensure the departure of Soviet forces from Austria. Although some other orientation might have been preferred, neutrality over time became firmly engrained in Austria's collective identity.

scholarly journals From Iron Curtain to Velvet Curtain? Peter Brook's Hamlet and the Origins of British–Soviet Cultural Relations during the Cold War

2018 ◽  
Vol 27 (4) ◽  
pp. 601-626 ◽  
Author(s):  
SARAH DAVIES
Keyword(s):  
Cold War ◽  
The Political ◽  
Iron Curtain ◽  
Cultural Relations ◽  
East And West ◽  
The Cold War ◽  
Political Divide

The article assesses the significance of the Moscow tour of Peter Brook's Hamlet. It considers how far the tour succeeded in overcoming the symbolic iron curtain by examining what Hamlet meant for contemporaries on both sides of the political divide. It argues that the Hamlet tour served at once to perpetuate and undermine the divisions between East and West, confirming Iriye's observation that on one level the Cold War intensified antagonism between states, while on another it helped to foster the growth of internationalist sentiment.

The Aging of a Star in Camelot

2020 ◽  
pp. 125-164
Author(s):  
Victoria Phillips
Keyword(s):  
Cold War ◽  
The Netherlands ◽  
Modern Dance ◽  
West Germany ◽  
Iron Curtain ◽  
Martha Graham ◽  
Private Funding ◽  
East And West ◽  
Containment Policy

“It takes me ten years to make a dancer,” Martha Graham declared, and by 1961, at age sixty-seven, she had created a generation of stars. Her technically powerful company trained with the matriarch of modern dance, its “Picasso,” as they readied to tour for a new, young president, John F. Kennedy, and his sophisticated wife, Jackie. He needed to show sophistication and gravitas; in 1962, Graham and her twenty glowing dancers toured Greece, Turkey, Yugoslavia, Poland, Sweden, West Germany, Finland, the Netherlands, and Norway, traversing a complex geographic puzzle of territories contested between East and West, engaging with “containment,” the “Iron Curtain,” old-fashioned wartime European neutrality, and Bandung’s issues of nonalignment, all refashioned by the changing Cold War. Yet the tour would start in Israel, again courtesy of private funding. Greece and Turkey had been named by Truman in his “containment” policy, led by George Kennan; Graham performed as Clytemnestra for the Greeks. Kennan sponsored Graham as she went “behind the Iron Curtain” to Yugoslavia and Poland, where religious works were foregrounded to fight the Soviet “atheists.” As in 1957, she would perform in West Germany, a Cold War hotspot. In Sweden, Finland, the Netherlands, and Norway, she engaged with European neutrality, nonalignment, and the Non-Aligned Movement that demanded softer power. As Graham aged, she presented increasingly sexually charged works with the cover of modernism and myth. Yet her alcoholism took hold and compromised her work. Many suggested this should be a “farewell tour.”

Burned Bridge: How East and West Germans Made the Iron Curtain

2012 ◽  
Vol 30 (4) ◽  
pp. 631-633
Author(s):  
A. Bauerkamper
Keyword(s):  
Iron Curtain ◽  
East And West

The Art of a Romantic Trickster

2017 ◽  
Author(s):  
Giorgio Bertellini
Keyword(s):  
Political Engagement ◽  
The Political ◽  
Eastern European ◽  
Iron Curtain ◽  
Before And After ◽  
Political Background ◽  
East And West

This chapter provides an overview of the political background that has shaped Emir Kusturica's films. Generationally and critically, Kusturica is the most renowned filmmaker associated both with the old Cold War's divide and its post-1989 aftermath. His work emerged out of a context that proved to be resiliently unlike any other within the Eastern European bloc. As one of few directors capable of thriving before and after 1989 (and between East and West), Kusturica appears to have adjusted his poetic pitch multiple times, just as critics on both sides of the Iron Curtain have felt compelled to reassess their judgment about his work. In reality, the chapter argues that his productions and activities have revolved around a poetic core that, in a dialogue with pressing historical occurrences, has undergone an expansion in terms of public political engagement and intermedial reach without altering itself.

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