scholarly journals Mr. Simpático: Dean Reed, Pop Culture, and the Cold War in Chile

2014 ◽  
Vol VIII (1) ◽  
Author(s):  
Jedrek Mularski
Keyword(s):  
Cold War ◽  
Pop Culture ◽  
The Cold War

The Coldest City

Cold War II ◽  
2020 ◽  
pp. 95-111
Author(s):  
Ian Scott
Keyword(s):  
Cold War ◽  
Pop Culture ◽  
The Unconscious ◽  
The Cold War ◽  
The Way

The chapter examines the way the Cold War has been historicized in the mode of films like Tinker Tailor Soldier Spy and Bridge of Spies but also how in other texts it has increasingly been filtered through the lens of nostalgic pop-culture referents. The locations are not simply backdrops but active signifiers, the characters less archetypes than reassembled studies in cinematic RPGs, the soundtracks no longer sombre diegesis but more a mix-tape of your favorite hit songs. This chapter, therefore, argues that, over the course of the 2010s, from Tinker Tailor to Atomic Blonde, art as the unconscious face of politics has never been more important. Reminiscence has thus shifted from a mode of nimble historical furnishings to one that contains a jumble of ideological contradictions designed to accentuate–and critique–the reassembled Cold War mentality of the Trump-Putin age.

The method of transit in humanistic education. Pop culture and the canon

2020 ◽  
Vol 13 ◽  
pp. 13-25
Author(s):  
Adam Regiewicz
Keyword(s):  
Popular Culture ◽  
Cold War ◽  
Pop Culture ◽  
Cultural Communication ◽  
Humanistic Education ◽  
The Subject ◽  
The Cold War ◽  
The Relationship

In Poland, a discourse on the relationship between the canon and pop culture has been going on for almost thirty years. It is dominated by the belief that these methods of cultural communication are completely divergent. The canon is understood as a bastion of tradition and values and as such is in contradiction with popular culture. This conflict has educational consequences. Creates a resonance in the relationships and teachers, who more and more often show greater knowledge of pop culture phenomena than the so-called cultural canon. The impasse that the school is currently ex-periencing requires a reaction, and this seems to be possible by drawing attention to the subject of education and turning to the “here and now”. In order to explain the possibility of breaking the “cold war” situation between the canon and pop culture, the article cites the transitive principle as a method of building a dialogue between both sides of the dispute.

The Deutschland Series: Cold War Nostalgia for Transnational Audiences

2021 ◽  
Vol 54 (2) ◽  
pp. 352-360
Author(s):  
Heather Gumbert
Keyword(s):  
Cold War ◽  
Pop Culture ◽  
The United States ◽  
New Wave ◽  
New Production ◽  
Television Industry ◽  
Existential Crisis ◽  
The United Kingdom ◽  
Historical Dramas ◽  
The Cold War

How do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you bring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.” A coproduction of Germany's UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appearing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.

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