Cold War Sport, Film and Propaganda : A Comparative Analysis of the Superpowers

This document is the author's original submitted manuscript (pre-print) version. An updated version has been published by MIT Press in Journal of Cold War Studies, available online at doi: https://doi.org/10.1162/JCWS_a_00721.Films and sports played central roles in Cold War popular culture. Each helped set ideological agendas domestically and internationally while serving as powerful substitutes for direct superpower conflict. This article brings film and sport together by offering the first comparative analysis of how U.S. and Soviet cinema used sport as an instrument of propaganda during the Cold War. The article explores the different propaganda styles that U.S. and Soviet sports films adopted and pinpoints the political functions they performed. It considers what Cold War sports cinema can tell us about political culture in the United States and the Soviet Union after 1945 and about the complex battle for hearts and minds that was so important to the East-West conflict.Peer reviewedFinal Published versio

The Textualities of the AutobiogrAfrical

In your mind’s eye, summon a map of the world—that famous text. There, there is Africa. The familiar, highly visible bulge of head to horn and curve, and the islands as you travel down to the continent’s southernmost point. It is likely that your imagination, like ours, has archived the inherited template of a Mercator projection, the powerful sixteenth-century cartography which remains influential offline and e-nfluential on Google Maps, even though it misleadingly distorts the size of continents. The 30.2 million square kilometers of the African continent appear much smaller than, say, the areas of the US (9.1 million square kilometers), Russia (16.4 million square kilometers), or China (9.4 million square kilometers). In comparison, the corrective cartographic morphing of the GallPeters projection revises the habituated representational geography of the world’s landmasses, showing the relational sizes of continents more accurately.1 Such tensions are not surprising, for the map, we know, is not to be equated with the territory and, in the context of our interest in this special issue in the textualities of the AutobiogrAfrical, divergent cartographies of the same space, drafted from different ideological perspectives, remind us to ask questions about how life narratives might make Africa intelligible. If, as Frances Stonor Saunders observes, “the self is an act of cartography, and every life a study of borders,” then “[e]nvisioning new acts of cartography that give substance and dynamism to the spaces between borders … produces new selves—or, at the very least, new ways of thinking about selfhood—and thus new objects of autobiographical enquiry.” 2 Any map of Africa reflects assumptions about a collective (“Africa”), as well as the political-geographical divisions of nation-states. “Africa” implies degrees of commonality among the (possibly more than) fifty-four countries that comprise the continent. Yet we know the dangers of a single story. Africa is not, after all, a country. Bear in mind, too, that our editorial team is located at the bottom end of the continent in South Afric

From Moscow with love

One of the less researched aspects of postcolonial India’s “progressive” culture is its Soviet connection. Starting in the 1950s and consolidating in the 1960s, the Union of Soviet Socialist Republics invested in building up “committed” networks amongst writers, directors, actors, and other theater- and film-practitioners across India. Thus, an entire generation of cultural professionals was initiated into the anticolonial solidarity of emerging Afro-Asian nations that were seen, and portrayed, by the Soviets as being victims of “Western” imperialism. The aspirational figure of the New Soviet Man was celebrated through the rise of a new form of “transactional sociality” (Westlund 2003). This paper looks at selected cases of cultural diplomacy—through the lens of cultural history—between the USSR and India for two decades after India’s Independence, exploring the possibility of theorizing it from the perspective of an anticolonial cultural solidarity that allowed agency to Indian interlocutors

The Soft Power of Anglia: British Cold War Cultural Diplomacy in the USSR

This article contributes to the growing literature on the cultural Cold War through an exploration of the British national projection magazine Anglia, produced by the Foreign Office for distribution in the USSR from 1962 to 1992. As well as drawing attention to the significance of national magazines in general, the article sheds light on Britain's distinctive approach to propaganda and cultural diplomacy during the Cold War. It considers why the magazine was set up and endured for so long, despite considerable reservations about its value. It examines how Britain was projected in a manner that accorded with British understandings about the need for ‘subtle’ propaganda. Finally, it addresses the question of the magazine's impact in the USSR

The cultural cold war : the CIA and the world of arts and letters /

Originally published: Who paid the piper? London : Granta Books, 1999.Includes bibliographical references (p. [476]-480) and index