Finland and Hungary both fought on the losing side in WWII. Yet the former was able to resist the overwhelming power of its Soviet neighbour, while Hungary, whose status was uncertain until 1947, was not. Could the revolt of 1956 have been a turning point? How did the Helsinki Accords contribute to the end of the Cold War?

Finland and Hungary both fought on the losing side in WWII. Yet the former was able to resist the overwhelming power of its Soviet neighbour, while Hungary, whose status was uncertain until 1947, was not. Could the revolt of 1956 have been a turning point? How did the Helsinki Accords contribute to the end of the Cold War?

The Cold War was as much a battle of ideas as a series of military and diplomatic confrontations, and movies were a prime battleground for this cultural combat. As Tony Shaw and Denise Youngblood show, Hollywood sought to export American ideals in movies like Rambo, and the Soviet film industry fought back by showcasing Communist ideals in a positive light, primarily for their own citizens. The two camps traded cinematic blows for more than four decades. The first book-length comparative survey of cinema's vital role in disseminating Cold War ideologies, Shaw and Youngblood's study focuses on ten films—five American and five Soviet—that in both obvious and subtle ways provided a crucial outlet for the global "debate" between democratic and communist ideologies. For each nation, the authors outline industry leaders, structure, audiences, politics, and international reach and explore the varied relationships linking each film industry to its respective government. They then present five comparative case studies, each pairing an American with a Soviet film: Man on a Tightrope with The Meeting on the Elbe; Roman Holiday with Spring on Zarechnaya Street; Fail-Safe with Nine Days in One Year; Bananas with Officers; Rambo: First Blood Part II with Incident at Map Grid 36-80. Shaw breathes new life into familiar American films by Elia Kazan and Woody Allen, while Youngblood helps readers comprehend Soviet films most have never seen. Collectively, their commentaries track the Cold War in its entirety—from its formative phase through periods of thaw and self-doubt to the resurgence of mutual animosity during the Reagan years-and enable readers to identify competing core propaganda themes such as decadence versus morality, technology versus humanity, and freedom versus authority. As the authors show, such themes blurred notions regarding "propaganda" and "entertainment," terms that were often interchangeable and mutually reinforcing during the Cold War. Featuring engaging commentary and evocative images from the films discussed, Cinematic Cold War offers a shrewd analysis of how the silver screen functioned on both sides of the Iron Curtain. As such it should have great appeal for anyone interested in the Cold War or the cinematic arts.

Based on new archival evidence, examines Soviet Empire building in Hungary and the American response to it. Hungary was not important enough to resist the Soviets, its democratic opposition failed to win American sympathy, the US simply had no leverage over the Soviets, who sacrificed cooperation with the West for a closed sphere in Eastern Europe. The imposition of a Stalinist regime assured Hungary's unconditional loyalty to Soviet imperial needs. Unlike the GDR, Eastern Europe was never considered a bargaining chip for bettering relations with the West. The book analyzes why, given all its idealism and power, the US failed even in its minimal aims concerning the states of Eastern Europe. Eventually both powers pursued power politics: the Soviets in a naked form, the US subtly, but both with little regard for the fate of Hungarians.

This book presents a comprehensive reassessment of Europe in the Cold War period, 1945-91. Contrary to popular belief, it shows that relations between East and West were based not only on confrontation and mutual distrust, but also on collaboration. The authors reveal that - despite opposing ideologies - there was in fact considerable interaction and exchange between different Eastern and Western actors (such states, enterprises, associations, organisations and individuals) irrespective of the Iron Curtain. This book challenges both the traditional understanding of the East-West juxtaposition and the relevancy of the Iron Curtain. Covering the full period, and taking into account a range of spheres including trade, scientific-technical co-operation, and cultural and social exchanges, it reveals how smaller countries and smaller actors in Europe were able to forge and implement their agendas within their own blocs. The books suggests that given these lower-level actors engaged in mutually beneficial cooperation, often running counter to the ambitions of the bloc-leaders, the rules of Cold War interaction were not, in fact, exclusively dictated by the superpowers.