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#REDIRECT [[Cold War in popular culture]]
The [[Cold War]] was reflected in culture through music, movies, books, television and other media, as well as sports and social beliefs and behavior. One major element of the Cold War was the threat of a [[nuclear war]]; another was espionage. Many works use the Cold War as a backdrop, or directly take part in fictional conflict between the [[United States]] and the [[Soviet Union]]. The period 1953–62 saw Cold War themes first enter the mainstream culture as a public preoccupation. For the historical context in the US, see [[United States in the 1950s]].

==Fiction: spy stories==
[[Cloak and dagger]] stories became part of the popular culture of the Cold War in both East and West, with innumerable novels and movies that showed how polarized and dangerous the world was.<ref>Katy Fletcher, "Evolution of the Modern American Spy Novel." ''Journal of Contemporary History'' 1987 22(2): 319-331. [https://www.jstor.org/pss/260935 in Jstor]</ref> Soviet audiences thrilled at spy stories showing how their KGB agents protected the motherland by foiling dirty work by the United States' nefarious [[Central Intelligenge Agency]], Britain's devious [[MI6]], and Israel's devilish [[Mossad]]. After 1963, Hollywood increasingly depicted the CIA as clowns (as in the comedy TV series ''Get Smart'') or villains (as in Oliver Stone's 1992 film ''JFK'').<ref>{{cite book|author=Wesley Alan Britton|title=Beyond Bond: Spies in Fiction and Film|url=https://books.google.com/books?id=82EvCiAG5lEC&pg=PA252|year=2005|publisher=Greenwood|isbn=9780275985561}}</ref>

===Books and other works===
* ''[[Atomsk (novel)|Atomsk]]'' by [[Paul Linebarger]], published in 1949, is the first espionage novel of the Cold War.
* ''[[Alas, Babylon]]'' by [[Pat Frank]]
* ''[[Arc Light (novel)|Arc Light]]'' by [[Eric L. Harry]]
* ''[[Berts vidare betraktelser]]''&nbsp;– [[Anders Jacobsson and Sören Olsson]] (1990), features [[Bert diaries#Bert|Bert]] travel with his family to [[New York City]] in July 1989, but fearing United States agents arriving to [[Öreskoga]] to prevent him from going to the US, as he has fallen in love with [[Bert diaries#Paulina Hlinka|Paulina]], who's cousine Pavel has arrived to [[Sweden]] from [[Czechoslovakia]] (under Communist rule), and Bert has been talking to Pavel.<ref>Berts vidare betraktelser, [[Rabén & Sjögren]], [[1990 in literature|1990]]</ref>
* ''[[Cat's Cradle]]'' by [[Kurt Vonnegut]]
* ''[[The Dispossessed]]'' by [[Ursula Le Guin]] is a science fiction novel exploring the differences in culture and philosophy between several alien societies, including that of an anarcho-syndicalist planet where most of the novel is set.
* ''[[Good Morning Comrades]]'' by [[Ondjaki]], a novel about a young boy in Luanda, Angola and the end of the Cold War.
* ''[[Resurrection Day]]'' by [[Brendan DuBois]]
* ''[[Twilight 2000]]'', [[role-playing game]].
* ''[[Warday]]'' by [[Whitley Strieber]] and [[James Kunetka]]
* ''[[Red Storm Rising]]'' a [[1986 in literature|1986]] novel by [[Tom Clancy]], about a conventional [[NATO]]/[[Warsaw Pact]] war.<ref>Walter L. Hixson, "'Red Storm Rising': Tom Clancy Novels and the Cult of National Security" ''Diplomatic History'' (1993): 17#4 pp 599-614.</ref>
** Other Tom Clancy novels which are part of the [[Jack Ryan (Tom Clancy character)|Jack Ryan universe]], most especially ''[[The Hunt for Red October]]'' and ''[[The Cardinal of the Kremlin]]'', though all of his books from this era are featured against a background of East-West conflict. Later ''[[Red Rabbit]]'' narrarates a "What-If" scenario of the Soviets being behind the 1981 assassination attempt on the Pope.
* ''[[Nineteen Eighty-Four|1984]]'' by [[George Orwell]]
* [[Frederick Forsyth]]'s spy novels sold in the hundreds of thousands. ''[[The Fourth Protocol]]'', whose title refers to a series of conventions that, if broken, will lead to nuclear war and that are now, of course, all broken except for the fourth and last thread, was made into a [[The Fourth Protocol (film)|major film]] starring British actor [[Michael Caine]].
* ''[[The Manchurian Candidate]]'', by Richard Condon, took a different approach and portrayed a Communist conspiracy against the US acting not through leftists or pacifists but through a thinly veiled allusion to [[Joseph McCarthy]]. The logic of this was that if McCarthyists were accusing so many people of being communist agents, it could only be to divert attention from the real communists. The theme of collusion between international communists and Western rightists would be picked up again by many movies (''[[Goldfinger (film)|Goldfinger]]'', ''[[A View to a Kill]]'') or television shows (episodes of ''[[MacGyver (1985 TV series)|MacGyver]]'' or ''[[Airwolf]]''), which would feature an alliance between power-hungry communists attacking the free world from the outside and profit-driven capitalists undermining it for financial gain.
* ''Sacrifice'' by [[Graham Masterton]]
* ''[[Masters of Deceit]]''&nbsp;– a non-fiction work written by the [[Federal Bureau of Investigation|FBI]], through [[J. Edgar Hoover]]'s office, extolling the vices of [[Communism]], and the virtues of Americanism.<ref>Whitfield, Stephen J., ''The Culture of the Cold War'', page 68</ref>
* ''[[Glasnost]]'' radically changed Russian culture, as books that had been forbidden suddenly became available, and people were reading them all the time, everywhere.<ref>Remnick, David, ''Lenin's Tomb: The last days of the Soviet Empire'', page 59</ref>
* ''[[The Ugly American]]'' by [[William J. Lederer]] and [[Eugene Burdick]]. Originally published in 1958, this book tells the story of how the US government handled foreign policy very poorly. The main character, Homer Atkins, discovers this sad truth when he is dispatched to the fictitious country of Sarkhan (in [[Southeast Asia]].)<ref>{{Cite book|title=The Ugly American|last=Lederer|first=William J.|publisher=W.W. Norton & Company|year=1958|isbn=978-0-393-31867-8|location=New York|pages=Back cover|url-access=registration|url=https://archive.org/details/uglyamerican000will}}</ref>
* ''[[One Day in the Life of Ivan Denisovich]]'' by [[Aleksandr Solzhenitsyn|Alexander Solzhenitsyn]]. This acclaimed book, first published in 1962, exposed the horrors of the [[Russia]]n prison camps during [[World War II|WWII]] under the [[Stalinism|Stalinist]] regime. It is a semi-autobiographical tale about a dutiful soldier who is sent to a [[Siberia]]n camp, after being falsely accused of treason. [[Aleksandr Solzhenitsyn|Solzhenitsyn]] received the [[Nobel Prize]] in [[Nobel Prize in Literature|literature]].<ref>{{Cite book|title=One Day in the Life of Ivan Denisovich|last=Solzhenitsyn|first=Alexander|publisher=1962|year=1962|isbn=|location=New York|pages=Back cover}}</ref>

==Cinema==

===Cinema as early Cold War propaganda===
During the Cold War, films functioned as a means to influence and control public opinion internally. The United States and the Soviet Union invested heavily in propaganda designed to influence the hearts and minds of people around the world, especially using motion pictures.<ref>Anthony Shaw and Denise Youngblood, ''Cinematic Cold War: The American and Soviet struggle for hearts and minds'' (University Press Kansas, 2010).</ref> Cold War films produced by both sides attempted to address different facets of the superpower conflict and sought to influence both domestic and foreign opinion. The gap between American and Soviet film gave the Americans a distinct advantage over the Soviet Union; the United States was readily prepared to utilize their cinematic achievements as a way to effectively impact the public opinion in a way the Soviet Union could not. Cinema, Americans hoped, would help close the gap caused by Soviet development of [[nuclear weapons]] and advancements in space technology.<ref name="Classen">{{cite web|last=Classen|first=Christoph|title=The Cold War in the Cinema: The Boom in Spy Films in the 1960s, its Causes and Implications|url=http://www.bpb.de/gesellschaft/kultur/filmbildung/63199/the-cold-war-in-the-cinema|accessdate= }}</ref> The use of film as an effective form of widespread propaganda transformed cinema into another Cold War battlefront.

====US cinema====
The Americans took advantage of their pre-existing cinematic advantage over the Soviet Union, using movies as another way to create the Communist enemy. In the early years of the Cold War (between 1948–53), seventy explicitly anti-communist films were released.<ref>Tony Shaw and Denise J. Younglood, ''Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds'' (2010) pp 20-21</ref> American films incorporated a wide scale of Cold War themes and issues into all genres of film, which gave American motion pictures a particular lead over Soviet film. Despite the audiences' lack of zeal for Anti-Communist/Cold War related cinema, the films produced evidently did serve as successful propaganda in both the United States and the Soviet Union. The films released during this time received a response from the Soviet Union, which subsequently released its own array of films to combat the depiction of the Communist threat.

Several organizations played a key role in ensuring that Hollywood acted in the national best interest of the US [[National Legion of Decency|Catholic Legion of Decency]] and the [[Production Code Administration]] acted as two conservative groups that controlled a great deal of the national repertoire during the early stages of the Cold War. These groups filtered out politically subversive or morally questionable movies. More blatantly illustrating the shift from cinema as an art form to cinema as a form of strategic weapon, the [[Motion Picture Alliance for the Preservation of American Ideals]] ensured that filmmakers adequately expressed their patriotism. Beyond these cinema-specific efforts, the [[FBI]] played a surprisingly large role in the production of movies, instituting a triangular-shaped film strategy: FBI set up a surveillance operation in Hollywood, made efforts to pinpoint and blacklist Communists, secretly laundered intelligence through [[HUAC]], and further helped in producing movies that "fostered [the FBI] image as the protector of the American people." The FBI additionally endorsed films, including Oscar winner ''[[The Hoaxters]]''.<ref>Shaw and Younglood, ''Cinematic Cold War'' (2010) pp 20-21</ref>

In the 1960s, Hollywood began using [[spy films]] to create the enemy through film. Previously, the influence of the Cold War could be seen in many, if not all, genres of American film. By the 1960s, spy films were effectively a "weapon of confrontation between the two world systems."<ref name="Classen"/> Both sides heightened paranoia and created a sense of constant unease in viewers through the increased production of spy films. Film depicted the enemy in a way that caused both sides to increase general suspicion of foreign and domestic threat.

====Soviet cinema====
Between 1946–54, the Soviet Union mimicked the US adoption of cinema as a weapon. The Central United Film Studios and the Committee on Cinema Affairs were committed to the Cold War battle. Under [[Stalin]]'s rule, movies could only be made within strict confines. Cinema and government were, as it stood, inextricably linked. Many films were banned for being insufficiently patriotic. Nonetheless, the Soviet Union produced a plethora of movies with the aim to blatantly function as negative propaganda.

In the same fashion as the United States, the Soviets were eager to depict their enemy in the most unflattering light possible. Between 1946 and 1950, 45.6% of on-screen villains in Soviet films were either American or British.<ref>{{cite book|last=Shaw, Youngblood|first=Tony, Denise J.|title=Cinematic Cold War: The American Struggle for Hearts and Minds|year=2010|publisher=University Press of Kansas|location=Kansas|pages=41–42}}</ref> Films addressed non-Soviet themes that emerged in American film in an attempt to derail the criticism and paint the US as the enemy. Attacks made by the United States against the Soviet Union were simply used as material by Soviet filmmakers for their own attacks on the US. Soviet cinema during this time took its liberty with history: "Did the [[Red Army]] engage in the mass rapes of German women and pillage German art treasures, factories, and forests? In Soviet cinema, the opposite was true in ''[The Meeting on the Elbe]''."<ref>{{cite book|last=Shaw, Youngblood|first=Tony, Denise J.|title=Cinematic Cold War: The American Struggle for Hearts and Minds|year=2010|publisher=University Press of Kansas|location=Kansas|page=42}}</ref> This demonstrated the heightened paranoia of the Soviet Union.

Despite efforts made to elevate the status of cinema, such as changing the Committee of Cinema Affairs to the Ministry of Cinematography, cinema did not seem to work as invigorating propaganda as was planned. Although the anti-American films were notably popular with audiences, the Ministry did not feel the message had reached the general public, perhaps due to the fact that the majority of moviegoers seeing the films produced were, perhaps, the Soviets most likely to admire American culture.<ref>{{cite book|last=Shaw, Youngblood|first=Tony, Denise J.|title=Cinematic Cold War: The American Struggle for Hearts and Minds|year=2010|publisher=University Press of Kansas|location=Kansas}}</ref>

After Stalin's death, a Main Administration of Cinema Affairs replaced the Ministry, allowing the filmmakers more freedom due to the lack of direct government control. Many of the films released throughout the late 1950s and 1960s focused on spreading a positive image of Soviet life, intent to prove that Soviet life was indeed better than American life.

Russian science fiction emerged from a prolonged period of censorship in 1957, opened up by de-Stalinization and real Soviet achievements in the space race, typified by Ivan Efremov's galactic epic, ''Andromeda'' (1957). Official Communist science fiction transposed the laws of historical materialism to the future, scorning Western nihilistic writings and predicting a [[peaceful transition of power|peaceful transition]] to universal communism. Scientocratic visions of the future nevertheless implicitly critiqued the bureaucratically developed socialism of the present. Dissident science fiction writers emerged, such as the Strugatski brothers, Boris and Arkadi, with their "social fantasies," problematizing the role of intervention in the historical process, or Stanislaw Lem's tongue-in-cheek exposures of man's cognitive limitations.<ref>Patrick Major, "Future Perfect?: Communist Science Fiction in the Cold War." ''Cold War History'' 2003 4(1): 71-96. {{ISSN|1468-2745}} Fulltext: in Ebsco</ref>

===Films depicting nuclear war===
{{Main|List of films about nuclear issues}}

* ''[[Duck and Cover (film)|Duck and Cover]]''&nbsp;– A 1951 educational movie explaining what to do in the event of a nuclear attack.
*''[[On the Beach (1959 film)|On the Beach]]'', depicted a gradually dying, post-apocalyptic world in Australia that remained after a nuclear Third World War.
* ''[[Ladybug Ladybug (film)|Ladybug Ladybug]]'' 1963 an elementary school nuclear bomb warning alarm sounds
* ''[[Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb]]'' (1964)&nbsp;– A [[black comedy]] film that satirizes the Cold War and the threat of nuclear warfare.
* ''[[Fail-Safe (1964 film)|Fail-Safe]]'' (1964)&nbsp;– A film based on a [[Fail-Safe (novel)|novel of the same name]] about an American bomber crew and nuclear tensions.
* ''[[The War Game]]'' (BBC, 1965; aired 1985)&nbsp;– Depicts the effects of a nuclear war in Britain following a conventional war that escalates to nuclear war.
* ''[[Damnation Alley (film)|Damnation Alley]]'' (20th Century Fox, 1977)&nbsp;– Surprise attack launched on the United States, and the subsequent efforts of a small band of survivors in California to reach another group of survivors in Albany, New York.
* ''[[The Children's Story]]'' (1982) short film, which originally aired on TV's [[Mobil Showcase]], depicts the first day of indoctrination of an elementary school classroom by a new teacher, representing a totalitarian government that has taken over the United States. It is based on the 1960 short story of the same name by [[James Clavell]].
* ''[[The Day After]]'' (1983)&nbsp;– This made-for-television-movie by [[American Broadcasting Company|ABC]] that depicts the consequences of a nuclear war in [[Lawrence, Kansas]] and the surrounding area.
* ''[[WarGames]]'' (1983)&nbsp;– About a young [[Hacker (computer security)|computer hacker]] who unknowingly hacks into a defense computer and risks starting a nuclear war.
* ''[[Testament (1983 film)|Testament]]'' ([[Public Broadcasting Service|PBS]], 1983)&nbsp;– Depicts the after-effects of a nuclear war in a town near [[San Francisco, California]].
* ''[[Countdown to Looking Glass]]'' ([[HBO]], 1984)&nbsp;– A film that presents a simulated news broadcast about a nuclear war.
* ''[[Threads (television show)|Threads]]'' ([[BBC]], 1984)&nbsp;– A film that is set in the British city of [[Sheffield]] and shows the long-term results of a nuclear war on the surrounding area.
* ''[[The Sacrifice]]'' (Sweden, 1986)&nbsp;– A philosophical drama about nuclear war.
* ''[[The Manhattan Project (film)|The Manhattan Project]]'' (1986)&nbsp;– Though not about a nuclear war, it was seen as a cautionary tale.
* ''[[When the Wind Blows (1986 film)|When the Wind Blows]]'' (1986)&nbsp;– An animated film about an elderly British couple in a post-nuclear war world.
* ''[[Miracle Mile (film)|Miracle Mile]]'' (1988)&nbsp;– A film about two lovers in [[Los Angeles, California|Los Angeles]] leading up to a nuclear war.
* ''[[By Dawn's Early Light]]'' ([[HBO]], 1990)&nbsp;– About rogue Soviet military officials framing NATO for a nuclear attack in order to spark a full-blown nuclear war.
* ''[[On the Beach (2000 film)|On the Beach]]'' ([[Showtime (TV channel)|Showtime]], 2000)&nbsp;– A remake of the 1959 film.
* ''Fail-Safe'' (CBS, 2000)&nbsp;– A remake of the 1964 film.

===Films depicting a conventional United States–Soviet Union war===
In addition to fears of a nuclear war between the United States and the Soviet Union, during the Cold War, there were also fears of a direct, large scale conventional conflict between the two superpowers.
* ''[[Invasion U.S.A. (1952 film)|Invasion U.S.A.]]'' (1952)&nbsp;– The 1952 film showed a Soviet invasion of the United States succeeding because the citizenry had fallen into moral decay, [[war profiteering]], and [[isolationism]]. The film was later parodied on [[Mystery Science Theater 3000]]. (This is not to be confused with the similarly titled Chuck Norris action vehicle released in 1985.)
* ''[[Red Nightmare]]'', a 1962 government-sponsored short subject narrated by [[Jack Webb]], imagined a Soviet-dominated United States as a result of the protagonist's negligence of his "all-American" duties.
* ''[[World War III (TV miniseries)|World War III]]'', a 1982 [[National Broadcasting Corporation|NBC]] miniseries about a Soviet invasion of Alaska.
* ''[[Red Dawn]]'' (1984)&nbsp;– presented a conventional Soviet attack with limited, strategic Soviet nuclear strikes on the United States, aided by allies from [[Latin America]], and the exploits of a group of high schoolers who form a [[guerrilla warfare|guerrilla]] group to oppose them.
* ''[[Invasion U.S.A. (1985 film)|Invasion U.S.A.]]'' (1985)&nbsp;– This film depicts a Soviet agent leading Latin American Communist guerillas launching attacks in the United States, and an ex-CIA agent played by [[Chuck Norris]] opposing him and his mercenaries.
* ''[[Amerika (TV miniseries)|Amerika]]'' (ABC, 1987), a peaceful takeover of the United States by the Soviet Union.

===Films depicting Cold War espionage===
* ''[[Firefox (film)|Firefox]]'' is a 1982 film based on a [[Craig Thomas (author)|Craig Thomas]] [[Firefox (novel)|novel of the same name]]. The plot details an American plot to steal a highly advanced Soviet fighter aircraft ([[Mikoyan MiG-31 (fictional)|MiG-31 Firefox]]) which is capable of Mach 6, is invisible to radar, and carries weapons controlled by thought.
* ''[[The Hunt for Red October (film)|The Hunt for Red October]]'' is a 1990 film based on a [[Tom Clancy]] [[The Hunt for Red October|novel of the same name]] about the captain of a technologically advanced Soviet ballistic missile submarine that attempts to defect to the United States.
* [[James Bond]] first appeared in 1953. While the primary antagonists in the majority of the novels were Soviet agents, the films were only vaguely based on the Cold War. The Bond movies followed the political climate of the time in their depictions of Soviets and [[People's Republic of China|"Red" Chinese]]. In [[Casino Royale (Climax!)|the 1954 version of ''Casino Royale'']], Bond was an American agent working with the British to destroy a ruthless Soviet agent in France, but became more widely known as Agent 007, James Bond, of Her Majesty's Secret Service, who was played by [[Sean Connery]] until 1971 and by several actors since. Although Bond films often used the Cold War as a backdrop, the Soviet Union itself was almost never Bond's enemy, that role being more often left to fictional and apolitical criminal organizations (like the infamous [[SPECTRE]]). However, Red China was in league with Bond's enemies in the films ''[[Goldfinger (film)|Goldfinger]]'', ''[[You Only Live Twice (film)|You Only Live Twice]]'' and ''[[The Man with the Golden Gun (film)|The Man With the Golden Gun]]'', while some later movies (''[[Octopussy (film)|Octopussy]]'', ''[[The Living Daylights (film)|The Living Daylights]]'') featured a rogue Soviet general as the enemy.
* [[TASS Is Authorized to Declare|TASS Upolnomochen Zayavit...]] ([[Telegraph Agency of the Soviet Union|TASS]] is Authorized to Announce ... )&nbsp;– a Soviet TV series based on [[Yulian Semyonov|Julian Semenov's]] novel. The plot of the movie is set around fictional African country '''Nagonia''', where [[Central Intelligence Agency|CIA]] agents are preparing a military coup, while KGB agent Slavin is trying to prevent it. Slavin succeeds by blackmailing the corrupt American spy John Glebe.
* [[The Falcon and the Snowman]] is a 1985 film directed by [[John Schlesinger]] about two young American men, [[Christopher Boyce]] and [[Daulton Lee]], who sold United States security secrets to the Soviet Union. The film is based upon the 1979 book ''The Falcon and the Snowman: A True Story of Friendship and Espionage'' by [[Robert Lindsey (journalist)|Robert Lindsey]].
* [[Gotcha! (1985 film)|''Gotcha!'' (1985 film)]] is a film about a college student named Jonathan ([[Anthony Edwards]]) who plays a game called Gotcha in which he hunts and is hunted by other students with paint guns on campus. Jonathan goes to France on vacation, meets a beautiful woman named Sasha ([[Linda Fiorentino]]), travels with her to [[East Germany]], and unknowingly becomes involved in the spy game between the US and USSR.

===Other films about Soviet Union–United States fears and rivalry===
* ''[[The Third Man]]'' (1949)&nbsp;– A major subplot deals with the [[refugee status]] of a [[Czechs|Czechoslovakian]] woman, and the Russian attempts to deport her back to Czechoslovakia.
* ''[[The Russians Are Coming, the Russians Are Coming]]'' (1966)&nbsp;– A film about a Soviet submarine that accidentally runs aground near a small New England town.
* ''[[Russian Roulette (film)|Russian Roulette]]'' (1975) – A film starring [[George Segal]] about a Canadian Mounty attempting to stop a KGB plot to assassinate a Soviet premier in Vancouver.
*''[[Telefon (film)|Telefon]]'' (1977)&nbsp;– A film starring [[Charles Bronson]] and [[Donald Pleasence]] about the net of deep-cover [[sleeper agent]]s in the US who are being activated by the deserted KGB agent.
* ''[[Rocky IV]]'' (1985)&nbsp;– In this installment of the [[Rocky (film series)|Rocky saga]], [[Rocky Balboa]] has to fight an extremely powerful boxer from the Soviet Union.
* ''[[Spies Like Us]]'' (1985)&nbsp;– A comedy film starring [[Dan Aykroyd]] and [[Chevy Chase]] as decoy agents send to infiltrate the Soviet Union.
* ''[[Russkies]]'' (1987)&nbsp;– A movie about a shipwrecked [[Soviet Navy]] sailor who washes ashore in Key West, Florida and is befriended by three American boys.
* ''[[Project X (1987 film)|Project X]]'' (1987)&nbsp;– A film starring [[Matthew Broderick]] where a US airman works with chimpanzees on Cold War-related projects.

==Television==
* ''[[Airwolf]]''
* ''[[Danger Man]]'', (Known as [[Danger Man|Secret Agent]] in the United States)
* ''[[I Led Three Lives]]''&nbsp;– The first foray into mass culture dealing with the Cold War.<ref>Whitfield, Stephen J., ''The Culture of the Cold War'', page 66</ref>
* ''[[I Spy (1965 TV series)|I Spy]]'' (1965–68 US television series)
* ''[[Get Smart]]''
* ''[[MacGyver (1985 TV series)|MacGyver]]''
* ''[[The Man from U.N.C.L.E.]]''
* ''[[Mission: Impossible (1966 TV series)|Mission: Impossible]]''
* ''[[Quatermass II]]''
* Several episodes of ''[[Star Trek: The Original Series|Star Trek]]'' featured a futuristic version of the Cold War, in terms of the United Federation of Planets vs. The Klingon Empire and the Romulan Star Empire, analogs for the United States, the Soviet Union, and the People's Republic of China, respectively. "[[A Taste of Armageddon]]" also showed the concept of [[Mutual assured destruction|MAD]] in a war between opposing sides.
* ''[[Scarecrow and Mrs. King]]''
* ''[[Ivan the Terrible (TV series)|Ivan the Terrible]]'' 1976 sitcom
* ''[[The Rocky and Bullwinkle Show]]'' 1960s cartoon for children and adults where the villains are Boris and Natasha, who were both Soviets.
* ''[[The Sandbaggers]]''
* ''[[The Twilight Zone]]'', a number of episodes of which depicted [[fallout shelter]]s, such as the 1961 episode, ''[[The Shelter (The Twilight Zone)|The Shelter]]'', produced as a social commentary on the [[Civil Defense]] push during the [[Berlin Crisis of 1961]], and the 1987 Ronald Reagan era "[[Shelter Skelter]]".<ref>{{cite web |url=https://www.imdb.com/title/tt0734715/?ref_=nm_flmg_act_147 |title=Twilight Zone 1987, Shelter Skelter}}</ref> Twilight Zone episodes commenting on other aspects of the Cold War, and [[World Peace]] include the 1986 ''[[A Small Talent for War]]''.

===Television commercials===
[[Wendy's]] Hamburger Chain ran a [[Television advertisement|television commercial]] showing a supposed "Soviet Fashion Show", which featured the same large, unattractive woman wearing the same dowdy outfit in a variety of situations, the only difference being the accessory she carried (for example, a flashlight for 'nightwear' or a beach ball for 'swimwear'). This was supposedly a lampoon on how the Soviet society is characterised with uniformity and standardisation, in contrast to the US characterised with freedom of choice, as highlighted in the Wendy's commercial.

[[Apple Inc.|Apple Computer]]'s "[[1984 (television commercial)|1984]]" ad, despite paying homage to George Orwell's novel of the same name, follows a more serious yet ambitious take on the freedom vs. totalitarianism theme evident between the US and Soviet societies at the time.

===Political commercials===

====Daisies and mushroom clouds====
[[File:Daisy (1964).webm|thumb|thumbtime=3|"Daisy" advertisement]]
''[[Daisy (television commercial)|Daisy]]'' was the most famous campaign commercial of the Cold War.<ref>{{cite web|url=https://www.pbs.org/30secondcandidate/timeline/years/1964b.html |title=The :30 Second Candidate: Lyndon Johnson campaign spots |publisher=Pbs.org |date= |accessdate=2014-04-26}}</ref> Aired only once, on 7 September 1964, it was a factor in [[Lyndon B. Johnson]]'s defeat of [[Barry Goldwater]] in the [[1964 United States presidential election|1964 presidential election]]. The contents of the commercial were controversial, and their emotional impact was searing.

The commercial opens with a very young girl standing in a meadow with chirping birds, slowly counting the petals of a [[Bellis perennis|daisy]] as she picks them one by one. Her sweet innocence, along with mistakes in her counting, endear her to the viewer. When she reaches "9", an ominous-sounding male voice is suddenly heard intoning the [[countdown]] of a [[rocket launch]]. As the girl's eyes turn toward something she sees in the sky, the camera [[Zoom lens|zooms]] in until one of her pupils fills the screen, blacking it out. The countdown reaches zero, and the blackness is instantly replaced by a simultaneous bright flash and [[thunder]]ous sound which is then followed by footage of a [[nuclear testing|nuclear explosion]], an explosion similar in appearance to the near [[surface burst]] [[Trinity test]] of 1945, followed by another cut to footage of a billowing [[mushroom cloud]].

As the [[Nuclear weapon yield|fireball]] ascends, an edit cut is made, this time to a close-up section of [[incandescence]] in the mushroom cloud, over which a [[voiceover]] from Johnson is played, which states emphatically, "These are the stakes! To make a world in which all of God's children can live, or to go into the dark. We must either love each other, or we must die." Another voiceover then says, "Vote for President Johnson on November 3. The stakes are too high for you to stay home." (Two months later, Johnson won the election in an [[Landslide victory|electoral landslide]].)

====Bear in the woods====
[[Bear in the woods]] was a [[1984 United States presidential election|1984]] campaign advertisement endorsing [[Ronald Reagan]] for [[President of the United States|President]]. This campaign ad depicted a brown bear wandering through the woods (likely implying the Soviet Union) and suggested that Reagan was more capable of dealing with the Soviets than his opponent, in spite of the fact that the ad never explicitly mentioned the Soviet Union, the Cold War or [[Walter Mondale]].

==Humor==
{{See also|Kitchen debate|Russian jokes|The Russians Are Coming, the Russians Are Coming}}
The 1984 "[[We begin bombing in five minutes]]" incident is an example of cold war [[dark humor]]. It was a personal [[microphone gaffe]] joke between Ronald Reagan, his White House staff and radio technicians that was accidentally leaked to the US populace. At the time, Reagan was well known before this incident for telling Soviet/[[Russian jokes]] in televised debates, many of which have now been uploaded to video hosting websites.
{{Listen
| filename = ReaganBeginsBombingRussia.ogg
| title = We begin bombing in five minutes
| description =
| type = speech
| pos = right
}}
:''My fellow Americans, I'm pleased to tell you today that I've signed legislation that will outlaw [[Soviet Union|Russia]] forever. We begin bombing in five minutes.''

The joke was a parody of the opening line of that day's speech:

:''My fellow Americans, I'm pleased to tell you that today I signed legislation that will allow student religious groups to begin enjoying a right they've too long been denied&mdash;the freedom to meet in public high schools during nonschool hours, just as other student groups are allowed to do.''<ref>[http://www.reagan.utexas.edu/archives/speeches/1984/81184a.htm Radio Address to the Nation on Congressional Inaction on Proposed Legislation]</ref>

Following his trip to [[Los Angeles]] in 1959 and being refused entry into [[Disneyland]], on security grounds, a dejected Soviet Premier [[Nikita Khrushchev]] joked, "...{{nbsp}}just now I was told that I could not go to Disneyland, I asked 'Why not?' What is it, do you have rocket launching pads there?"<ref>{{cite web|url=http://www.snopes.com/disney/parks/nikita.asp |title=Nikita Khrushchev at Disneyland |publisher=snopes.com |date= |accessdate=2014-04-26}}</ref> The only person more disappointed than Khrushchev was [[Walt Disney]] himself, who claimed he had been looking forward to showing off his 'submarine fleet', which was actually the ''[[20,000 Leagues Under the Sea (1954 film)|20,000 Leagues Under the Sea]]'' ride.

==Arts==
{{See also|The CIA and the Cultural Cold War}}
The United States and the Soviet Union engaged in competition vis-à-vis the arts. Cultural competition played out in Moscow, New York, London, and Paris. The Soviets excelled at [[ballet]] and [[chess]], the Americans at [[jazz]] and [[abstract expressionism|abstract expressionist]] paintings.<ref>Serge Guilbaut, ''How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War'' (U. of Chicago Press, 1983).</ref> The US funded its own ballet troupes, and both used ballet as political propaganda, using dance to reflect life style in the "battle for the hearts and minds of men." The defection of a premier dancer became a major coup.<ref>David Caute, ''The Dancer Defects: The Struggle for Cultural Supremacy during the Cold War'' (Oxford University Press, 2003)</ref>

Chess was inexpensive enough—and the Russians always won until America unleashed [[Bobby Fischer]].<ref>Caute, ''The Dancer Defects: The Struggle for Cultural Supremacy During the Cold War '' pp 611-613</ref> Vastly more expensive was the [[Space Race]], as a proxy for scientific supremacy (with a technology with obvious military uses).<ref>Walter A. McDougall, "Sputnik, the Space Race, and the Cold-War." ''Bulletin of the Atomic Scientists'' (1985):41#5 20-25.</ref> As well when it came to sports the two countries both competed in the Olympics during the Cold War period which also created severe tension when the West [[1980 Summer Olympics boycott|boycotted the first Russian Olympics in 1980]].<ref>Stephen Wagg, and David L. Andrews, eds. ''East plays west: Sport and the Cold War'' (Routledge, 2007)</ref>

==Music==

===1940s===
{{ external media | align = center |audio1 = You may listen to [[CBS]]'s [[Alfredo Antonini]] with tenor [[Nestor Mesta Chayres]], accordionist [[John Serry Sr.]] and the CBS Pan American Orchestra performing [[Agustin Lara]]'s bolero ''[[Granada (song)|Granada]]'' in 1946 [https://archive.org/details/78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a/_78_granada_nestor-chayres-agustin-lara-alfredo-antonini_gbia0021459a_02_2.3_CT_flat.flac '''here''']}}

As President Franklin D. Roosevelt died and World War II concluded with the detonation of nuclear weapons over Japan in 1945, the stage was quickly set for the emergence of Cold War hostilities between the new superpowers in 1946. Musicians concertizing in the UNited States during this period were suddenly exposed to rapidly shifting diplomatic and political circumstances.

In 1946 the US State Department assumed control of the [[cultural diplomacy]] initiatives in South America which were initiated in 1941 by President Roosevelt's [[Office of the Coordinator of Inter-American Affairs]].<ref>[https://books.google.com/books?id=Qx00pQIkclMC&pg=PA166&dq=Eva+Garza&hl=en&sa=X&ved=0ahUKEwiXg_qkiPnZAhVFPN8KHbynAMAQ6AEILTAB#v=snippet&q=ociaa&f=false ''Dissonant Divas in Chicana Music: The Limits of La Onda'' Deborah R. Vargas. University of Minnesota Press, Minneapolis, 2012 p. 152-155] {{ISBN|978-0-8166-7316-2}} OCIAA (Office of the Coordinator of Inter-American Affairs), DR's Good Neighbor Policy, CBS, Viva America, La Cadena de las Americas radio network on google.books.com</ref><ref>Anthony, Edwin D. Records of the Office of Inter-American Affairs. National Archives and Record Services - General Services Administration Washington D.C., 1937 p. 25-26 Library of Congress Catalog No. 73-600146 [https://www.archives.gov/files/research/foreign-policy/related-records/rg-229-inter-american-affairs.pdf Records of the Office of Inter-American Affairs - Radio Division at the US National Archive on www.archives.gov]</ref><ref>[https://archive.org/details/voiceofamericado00krug/page/28 <!-- quote=Voice of America and the Domestic Propaganda Battles CIAA. --> ''The Voice of America and the Domestic Propaganda Battles 1945-1953''] David F. Krugler, University of Missouri Press.. Columbia ,2000 p.28-29, {{ISBN|0-8262-1302-2}}<span> Voice of America, Preseident Roosevelt, Office of the Coordinator for Inter-American Affairs (CIAA), State Department and cultural programming on books.google.com</span></ref> At first, the State Department continued to encourage leading musicians to concertize and broadcast music in support of its [[Pan-Americanism]] policy in the region through its Office of International Broadcasting and Cultural Affairs.<ref>[https://books.google.com/books?id=W4IgALTXtH4C&pg=PT163&dq=Edmund+A.+Chester&hl=en&sa=X&ved=0ahUKEwjo_NaYj4zeAhWEZd8KHeU8BTA4KBDoAQgrMAE#v=onepage&q=Edmund%20A.%20Chester&f=false ''In All His Glory: the Life And Times of William S. Paley'']. Salley Bedell Smith. Random House. New York, 2002 p. 18 {{ISBN|978-0-307-78671-5}}<span> William S. Paley, CBS, Edmund A. Chester, Pan-Americanism, Office of the Coordinator of Inter-American Affairs, Cadena de las Americas on books.google</span></ref> As a result, live radio broadcasts to South America by such musicians as [[Alfredo Antonini]], [[Nestor Mesta Chayres|Néstor Mesta Cháyres]] and [[John Serry Sr.]] on [[CBS]]'s ''[[Viva América]]'' show continued into the first years of the cold war era.<ref>Media Sound & Culture in Latin America. Editors: Bronfman, Alejanda & Wood, Andrew Grant. University of Pittsburgh Press, Pittsburgh, PA, USA, 2012, Pg. 49 {{ISBN|978-0-8229-6187-1}} [https://books.google.com/books?id=ehN4sM0Xy_UC&pg=PA49&lpg=PA49&dq=Alfredo+Antonini+Elsa+Miranda&source=bl&ots=0QO5CA2OqH&sig=hFsApCcT681beYgWl_JZnVvINZ4&hl=en&sa=X&ved=0ahUKEwi3nbSWnpTWAhVE34MKHReZCrsQ6AEIQzAK#v=onepage&q=Alfredo%20Antonini%20Elsa%20Miranda&f=false Alfredo Antonini, Nestor Mesta Chayres, Viva America program, CBS network on books.google.com]</ref><ref>''A Pictorial History of Radio'', Settel Irving Grosset & Dunlap Publishers, New York, 1960 & 1967, Pg. 146 Photograph - John Serry Sr, Alfredo Antonini, Juan Arvizu and Viva America Orchestra at CBS, Library of Congress #67-23789</ref> As the decade came to a close, however, the focal point for American foreign policy shifted toward the superpower rivalry in Europe and such cultural broadcasting to South America was gradually eliminated.<ref>[https://archive.org/details/voiceofamericado00krug/page/52 <!-- quote=Voice of America and the Domestic Propaganda Battles OIC. --> ''The Voice of America and the Domestic Propaganda Battles 145-1953''] David F. Krugler, University of Missouri Press.. Columbia ,2000 p.52-53, Chapters 1-3 {{ISBN|0-8262-1302-2}}<span> Voice of America, State Dept. Office of International Information and Cultural Affairs (OIC), cultural programming funding 1947-1948 on books.google.com</span></ref>

===1950s and 1960s===
{{See also|The CIA and the Cultural Cold War}}
Musicians of these decades, especially in [[jazz]] and [[folk music]], were influenced by the shadow of nuclear war. Probably the most famous, passionate and influential of all was [[Bob Dylan]], notably in his songs "[[Masters of War]]" and "[[A Hard Rain's a-Gonna Fall]]" (written just before the [[Cuban Missile Crisis]]). In 1965 [[Barry McGuire]]'s version of [[P. F. Sloan]]'s apocalyptic "[[Eve of Destruction (song)|Eve of Destruction]]" was a number one hit in the United States and elsewhere.

[[Van Cliburn]] was a pianist who was celebrated with a [[ticker tape parade]] after winning a musical competition in the Soviet Union.

From 1956 through the late 1970s, the US State Department sent its finest jazz musicians to show off music that appealed to youth, to demonstrate racial harmony at home, and to undergird freedom as jazz was a democratic music form, free flowing and improvised. Jazz tours of the Soviet Union were organized in 1956, and lasted through the 1970s.<ref>[[Penny Von Eschen]], ''Satchmo blows up the world: Jazz ambassadors play the cold war'' (Harvard University Press, 2009)</ref><ref>Lisa E. Davenport, ''Jazz diplomacy: Promoting America in the cold war era'' (U. Press of Mississippi, 2010).</ref>

In addition to jazz, the US State Department also supported the performance of [[classical music]] by noteworthy American orchestras as part of its [[cultural diplomacy]] initiatives during the cold war. In 1961-1962 [[Howard Hanson]]'s Eastman Philharmonia Orchestra at the [[Eastman School of Music]] was selected to represent the nation on an international concert tour which included thirty four cities and sixteen countries in Europe, the Middle East and Russia.<ref>''Howard Hanson in Theory and Practice'' Allen Laurence Cohen, Praeger Publishers, CT., 2004 p.13 {{ISBN|0-313-32135-3}} [https://books.google.com/books?id=6AAKBSlQAxMC&printsec=frontcover&dq=Howard+Hanson+founder+Edward+B.+Benjamin+Prize&hl=en&sa=X&ved=0ahUKEwjGopDPofrfAhXnm-AKHfGlAkoQ6AEITTAI#v=onepage&q=Eastman%20Philharmonia&f=false Howard Hanson and the Eastman Philharmonia on books.google.com]</ref>
{{ external media | align = center |audio1 = You may listen to radio broadcasts of performances by [[Samuel Adler (composer)|Samuel Adler]] and members of the [[Seventh Army Symphony Orchestra]] from 1956–2006 [https://www.7aso.org/htmldocs/asaudiop.html '''here on 7aso.org''']}}

The [[United States Seventh Army]] also played an integral role in supporting cultural diplomacy and strengthening international ties with Europe during the cold war. The [[Seventh Army Symphony Orchestra]] was founded by Corporal [[Samuel Adler (composer)|Samuel Adler]] in Stuttgart, Germany as part of an effort by the US Army to demonstrate the common cultural heritage which existed in the United Staets, its European allies and the conquered nations in Europe during the cold war period. The orchestra concertized extensively throughout Europe from 1952 until 1961 and performed works from the classical repertoire as well as contemporary compositions from the United States. Listed among the ensemble's earliest "musical ambassadors" were several young conductors including: [[John Ferritto]], [[James Dixon (conductor)|James Dixon]], [[Kenneth Schermerhorn]] and [[Henry Lewis (musician)|Henry Lewis]].<ref>[https://books.google.com/books?id=k9SOCgAAQBAJ&pg=PA311&dq=Seventh+Army+Symphony+Orchestra+Samuel+Adler&hl=en&sa=X&ved=0ahUKEwjQ_s-XgYbdAhUHvlkKHU4nCjgQ6AEIJzAA#v=onepage&q=Seventh%20Army%20Symphony%20Orchestra%20Samuel%20Adler&f=false ''A Dictionary for the Modern Conductor''], Emily Freeman Brown, Scarecrow Press , Oxford, 2015, p. 311 {{ISBN|9780810884014}} ''Seventh Army Symphony Orchestra'' founded by Samuel Adler in 1952 on https://books.google.com</ref><ref>[https://books.google.com/books?id=ogj6v4lo8HwC&dq=Seventh+Army+Symphony+Orchestra+Samuel+Adler&hl=en&sa=X&ved=0ahUKEwjQ_s-XgYbdAhUHvlkKHU4nCjgQ6AEISTAH ''Uncle Sam's Orchestra: Memories of the Seventh Army Orchestra''] John Canaria, University of Rochester Press 1998 {{ISBN|9781580460194}} Seventh Army Symphony on https://books.google.com</ref><ref>[https://books.google.com/books?id=MMwkDQAAQBAJ&pg=PA49&dq=Seventh+Army+Symphony+Orchestra&hl=en&sa=X&ved=0ahUKEwjlxeykrIbdAhXOslkKHXP1A5MQ6AEIQDAF#v=onepage&q=Seventh%20Army%20Symphony%20Orchestra&f=false ''New Music New Allies''] Amy C. Beal, University of California Press, Berkeley, 2006, P. 49, {{ISBN|978-0-520-24755-0}} "Seventh Army Symphony Orchestra (1952–1962) performing works by Roy Harris, Morton Gould and Leroy Anderson" on https://books.google.com</ref>

===Later===
Many protest songs during the 1980s reflected general unease with escalating tensions between the [[Soviet Union]] and the [[United States]] brought on by [[Ronald Reagan]]'s and [[Margaret Thatcher]]'s hard line against the Soviets. For example, various musical artists wore military uniform-like costumes, as a reflection of the increased feeling of militarism seen in the 1980s. Songs symbolically showed the superpowers going to war, as in the [[Frankie Goes to Hollywood]] song "[[Two Tribes]]". This song's MTV music video featured caricatures of United States President [[Ronald Reagan]] and [[General Secretary of the Communist Party of the Soviet Union|Soviet General Secretary]] [[Konstantin Chernenko]] in a wrestling match.

Other songs expressed fear of World War III, as in the [[Sting (musician)|Sting]] song, "[[Russians (song)|Russians]]", with lyrics such as "I don't subscribe to his [Reagan's or Khrushchev's] point of view" (that Reagan would protect Europe, or that [[Nikita Khrushchev|Khrushchev]] would "bury" the West). Other examples include [[Sly Fox (musical group)|Sly Fox]]'s "Let's go all the way", a song about "going all the way" to nuclear war; [[The Escape Club]]'s "Wild Wild West" with its various references to the Cold War. The [[Genesis (band)|Genesis]] song "[[Land of Confusion]]" expressed a desire to make some sense out of the world, especially in relation to nuclear war.

A number of punk rock bands from the 1980s attacked Cold War era politics, such as Reagan's and Thatcher's [[Mutual assured destruction|nuclear deterrence]] [[Brinkmanship (Cold War)|brinkmanship]]. A small sampling includes [[The Clash]], [[Dead Kennedys]], [[Government Issue]], [[Fear (band)|Fear]], [[Suicidal Tendencies]], [[Toxic Reasons]], [[Reagan Youth]], etc. Noted punk compilation ''[[International P.E.A.C.E. Benefit Compilation|P.E.A.C.E.]]'' included bands from around the world in an attempt to promote international peace. The [[Scars (band)|Scars]] covered apocalyptic poem "Your Attention Please" by [[Peter Porter (poet)|Peter Porter]], a radio broadcast announcing nuclear war.

Probably the most famous of the 1980s songs against increased confrontation between the Soviets and the Americans was [[Nena]]'s "[[99 Luftballons]]", which described the events – ostensibly starting with the innocent release of 99 (red) toy balloons – that could lead to a nuclear war.

[[Imperiet]]&nbsp;– "[[Coca Cola Cowboys]]"&nbsp;– a Swedish rock song about how the world is divided by two super powers that both claim to represent justice.

[[Roman Palester]], a classical music composer had his works banned and censored in Poland and the Soviet Union, as a result of his work for [[Radio Free Europe]], even though he was thought to be Poland's greatest living composer at the time.<ref>"[http://www.culture.pl/en/culture/artykuly/os_palester_roman Profiles: Roman Palester] {{Webarchive|url=https://web.archive.org/web/20070930181337/http://www.culture.pl/en/culture/artykuly/os_palester_roman |date=2007-09-30 }}". Adam Mickiewicz Institute. Retrieved on 12 May 2007.</ref>

===Musicals and plays===
*''[[Chess (musical)|Chess]]'' The game of chess was another mode of competition between the two [[superpower]]s, which the musical demonstrates.

==Consumerism==
Historians debate whether the spread of American-style consumerism to Western Europe (and Japan) was part of the Cold War. Steigerwald reviews the debate by looking at the book ''Trams or Tailfins? Public and Private Prosperity in Postwar West Germany and the United States'' (2012) by Jan L. Logemann:

<blockquote>In arguing that West Germany was not "Americanized" after the war, Logemann joins a long debate about American consumer capitalism's power, sweep, and depth of influence in the developed world through the second half of the twentieth century. In pointed contrast to Reinhold Wagnleitner's ''Coca-colonization and the Cold War'' (1994) and Victoria de Grazia's ''Irresistible Empire'' (2005), Logemann argues that, for all the noisy commentary, pro and con, about postwar Americanization, West Germans shaped their version of the affluent society according to deeply held and distinctly un-American values. Rather than a sweeping homogenization of the developed world, postwar affluence ran along "different paths to consumer modernity" ... Instead of the "consumer-as-citizen" (whom Lizabeth Cohen, in ''The Consumer's Republic'' [2003], defined as the main social type in postwar America), West Germans promoted the social consumer who practiced "public consumption," which Logemann defines as "the provision of publicly funded alternatives to private consumer goods and services in areas ranging from housing to transportation or entertainment" (p. 5).<ref>David Steigerwald's review of Jan L. Logemann. ''Trams or Tailfins? Public and Private Prosperity in Postwar West Germany and the United States'' (2012) in ''Reviews in American History'' (March 2014) [http://muse.jhu.edu/journals/reviews_in_american_history/v042/42.1.steigerwald.html online]</ref></blockquote>

==Sports==
Cold war tensions between the US and the USSR were the backdrop of sports competitions, especially in hockey and in the Olympics of 1980 and 1984.<ref>John Soares, "Very Correct Adversaries: The Cold War on Ice from 1947 to the Squaw Valley Olympics," ''International Journal of the History of Sport'' 30 (July 2013), 1536–53.</ref>
*1956: [[1956 Summer Olympics]]&nbsp;– USSR-Hungary [[Blood in the Water match]] following the Hungarian Revolution
*1969: [[1969 World Ice Hockey Championships]]&nbsp;– USSR-Czechoslovakia following the 1968 events in Czechoslovakia
*1972: [[1972 Summer Olympics]]&nbsp;– The USSR defeats the United States in men's basketball in a [[1972 Olympic Men's Basketball Final|controversial gold medal game]]
*1972: Canada–USSR [[Summit Series]] – [[Canada]] defeats the Soviets in this eight game series.
*1972: Fischer (USA)- Spaasky (USSR) Chess World Championship- Bobby Fischer beat Spaasky in this championship held in Reykjavik, Iceland.
*1980: [[The Miracle on Ice]] – The United States defeats the USSR in the [[1980 Winter Olympics]]. The first time the USSR hockey team did not win gold since 1960, and the last time they wouldn't until the USSR fell apart. Also the first and only time the United States would beat them in hockey until 1991.
*1980: [[1980 Summer Olympics boycott]]&nbsp;– by the United States
*1984: [[1984 Summer Olympics boycott]]&nbsp;– by the Soviet Union

==Playground equipment==
{{main|Cold War playground equipment}}
[[File:TexasRichardson rocketShipSlide.jpg|thumb|155px|right|Rocketship slide in [[Richardson, Texas]]]]
Playground equipment constructed during the Cold War was intended to foster children's curiosity and excitement about the [[Space Race]]. It was installed in both Communist and non-Communist countries throughout the Cold War.

==Video games==
* ''[[Firefox (arcade game)|Firefox]]''
* ''[[Missile Command]]''
* ''[[Raid over Moscow]]''
* ''[[SDI (arcade game)|SDI]]''
* [[Metal Gear Solid 3: Snake Eater]]
* ''[[DEFCON (video game)|DEFCON]]''
* ''[[Call of Duty: Black Ops]]''
* ''[[Call of Duty: Black Ops Cold War]]''

==Protest culture==
[[File:Women Strike for Peace NYWTS.jpg|thumb|155px|Women Strike for Peace during the [[Cuban Missile Crisis]]]]
{{Main|Anti-nuclear protests}}
{{See also|Counterculture of the 1960s}}

[[Anti-nuclear]] protests first emerged in the late 1950s and early 1960s.<ref>David Cortright (2008). ''Peace: A History of Movements and Ideas'', Cambridge University Press, pp. 134-135.</ref> In the United Kingdom, the first [[Aldermaston Marches|Aldermaston March]], organised by the [[Campaign for Nuclear Disarmament]], took place in 1958.<ref name=CND>[http://www.cnduk.org/pages/binfo/hist.html A brief history of CND]</ref><ref name=GuardianUnlimited:1958>{{cite news | publisher = [[Guardian Unlimited]] | title = Early defections in march to Aldermaston | date = 1958-04-05 | url = http://century.guardian.co.uk/1950-1959/Story/0,,105488,00.html | accessdate = }}</ref> In 1961, at the height of the [[Cold War]], about 50,000 women brought together by [[Women Strike for Peace]] marched in 60 cities in the United States to demonstrate against [[nuclear weapons]].<ref name=dagmar2011>{{cite web |url=http://www.latimes.com/news/obituaries/la-me-dagmar-wilson-20110130,0,5499397.story |title=Dagmar Wilson dies at 94; organizer of women's disarmament protesters |author=Woo, Elaine |date=January 30, 2011 |work=Los Angeles Times }}</ref><ref>{{cite news |url=https://www.nytimes.com/2011/01/24/us/24wilson.html |title=Dagmar Wilson, Anti-Nuclear Leader, Dies at 94 |author=Hevesi, Dennis |date=January 23, 2011 |work=The New York Times }}</ref> In 1964, Peace Marches in several Australian capital cities featured "Ban the bomb" placards.<ref>[http://espace.library.uq.edu.au/view/UQ:114192 Women with Ban the Bomb banner during Peace march on Sunday April 5th 1964, Brisbane, Australia] Retrieved 8 February 2010.</ref><ref>[http://espace.library.uq.edu.au/view/UQ:114194 Girl with placard Ban nuclear tests during Peace march on Sunday April 5th 1964, Brisbane, Australia] Retrieved 8 February 2010.</ref>

In the early 1980s, the revival of the [[nuclear arms race]] triggered large [[Demonstration (people)|protests]] about [[nuclear weapons]].<ref>Lawrence S. Wittner. {{cite web|url=http://www.thebulletin.org/web-edition/op-eds/disarmament-movement-lessons-yesteryear|title=Disarmament movement lessons from yesteryear|access-date=2011-02-21|archive-url=https://archive.is/20121209103702/http://www.thebulletin.org/web-edition/op-eds/disarmament-movement-lessons-yesteryear|archive-date=2012-12-09|url-status=dead}} ''Bulletin of the Atomic Scientists'', 27 July 2009.</ref> In October 1981 half a million people took to the streets in several cities in Italy, more than 250,000 people protested in Bonn, 250,000 demonstrated in London, and 100,000 marched in Brussels.<ref>David Cortright (2008). ''Peace: A History of Movements and Ideas'', Cambridge University Press, p. 147.</ref> The largest anti-nuclear protest was held on June 12, 1982, when one million people demonstrated in [[New York City]] against [[nuclear weapons]].<ref>Jonathan Schell. [http://www.thenation.com/doc/20070702/schell The Spirit of June 12] ''The Nation'', July 2, 2007.</ref><ref>David Cortright (2008). ''Peace: A History of Movements and Ideas'', Cambridge University Press, p. 145.</ref><ref>[http://www.icanw.org/1982 1982 One million people march in New York City] {{webarchive |url=https://web.archive.org/web/20100616175116/http://www.icanw.org/1982 |date=June 16, 2010 }}</ref> In October 1983, nearly 3 million people across western Europe protested nuclear missile deployments and demanded an end to the arms race; the largest crowd of almost one million people assembled in [[the Hague]] in the Netherlands.<ref>David Cortright (2008). ''Peace: A History of Movements and Ideas'', Cambridge University Press, p. 148.</ref> In Britain, 400,000 people participated in what was probably the largest demonstration in British history.<ref name=Wit144>Lawrence S. Wittner (2009). ''Confronting the Bomb: A Short History of the World Nuclear Disarmament Movement'', Stanford University Press, p. 144.</ref>

==Other==
*[[Barbie]]—Barbie represented the American way of life, because she was the ultimate consumer.<ref>Whitfield, Stephen J., ''The Culture of the Cold War'', page 71</ref>
*[[New Math]] was a strong reaction to the launch of [[Sputnik crisis|Sputnik]], by changing the way mathematics was taught to school age children.
*The [[Kitchen Debate]] was an impromptu debate (through interpreters) between Vice President Richard Nixon and Soviet Premier [[Nikita Khrushchev]] at the opening of the [[American National Exhibition]] in Moscow, on July 24, 1959.
==See also==
* [[Americanization]]
*[[Anti-American sentiment]]
*[[American stereotypes]]
*[[Cocacolonization]]
*[[Cultural imperialism]]
*[[Debates over Americanization]]
*[[Military globalization]]
*[[McDonaldization]]
*''[[Pax Americana]]''
* [[Sovietization]]
*[[Sovietization of the Baltic states]]
*[[Soviet socialist patriotism]]

==References==
{{Reflist}}

==Further reading==
{{div col|colwidth=30em}}
* Belmonte, Voir Laura A. "A Family Affair? Gender, the US Information Agency, and Cold War Ideology, 1945-1960." ''Culture and International History,'' (2003): 79-93.
* Brooks, Jeffrey. ''Thank You, Comrade Stalin!: Soviet Public Culture from Revolution to Cold War'' (2001) [https://www.amazon.com/Thank-You-Comrade-Stalin-Revolution/dp/0691088675/ excerpt and text search]
* Day, Tony and Maya H. T. Liem. ''Cultures at War: The Cold War and Cultural Expression in Southeast Asia'' (2010)
* Defty, Andrew. ''Britain, America and Anti-Communist Propaganda 1945-53: The Information Research Department'' (London: Routledge, 2004) on a British agency
* Devlin, Judith, and Christoph H Muller. ''War of Words: Culture and the Mass Media in the Making of the Cold War in Europe'' (2013)
* Fletcher, Katy. "Evolution of the Modern American Spy Novel." ''Journal of Contemporary History'' (1987) 22(2): 319-331. [https://www.jstor.org/stable/260935 in Jstor]
* Footitt, Hilary. "'A hideously difficult country': British propaganda to France in the early Cold War." ''Cold War History'' (2013) 13#2 pp: 153-169.
* Gumbert, Heather. ''Envisioning Socialism: Television and the Cold War in the German Democratic Republic'' (2014) [https://www.amazon.com/Envisioning-Socialism-Television-Democratic-Republic/dp/0472119192/ excerpt and text search]
* {{cite book|author=Hammond, Andrew |title=British Fiction and the Cold War|url=https://books.google.com/books?id=0cbQAQAAQBAJ&pg=PA86|year=2013|publisher=Palgrave Macmillan|page=86|isbn=9781137274854}}
* {{cite book|author=Hendershot, Cynthia |title=I was a Cold War Monster: Horror Films, Eroticism, and the Cold War Imagination|url=https://books.google.com/books?id=hG_HjUAeAeEC|year=2001|publisher=Popular Press|isbn=9780879728496}}
* Hixson, Walter L. ''Parting the curtain: Propaganda, culture, and the Cold War'' (New York: St. Martin's Press, 1997)
* Iber, Patrick, ''Neither peace nor freedom: The cultural Cold War in Latin America''. Cambridge: Harvard University Press 2015.
* Jones, Harriet. "The Impact of the Cold War" in Paul Addison, and Harriet Jones, editors, ''A Companion to Contemporary Britain: 1939-2000'' (2008) ch 2
* Kuznick, Peter J. ed. ''Rethinking Cold War Culture'' (2010) [https://www.amazon.com/RETHINKING-COLD-CULTURE-Peter-Kuznick/dp/1560988959/ excerpt and text search]
* Major, Patrick. "Future Perfect?: Communist Science Fiction in the Cold War." ''Cold War History'' (2003) 4(1): 71-96.
* Marwick, Arthur. ''The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c.1958-c.1974'' (Oxford University Press, 1998).
* Orwell, George. (1949). ''Nineteen-Eighty-Four''. London: Secker & Warburg. (later edn. {{ISBN|0-451-52493-4}})
* Polger, Uta G. ''Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany'' (2000)
* Shaw, Tony. ''British cinema and the Cold War: the state, propaganda and consensus'' (IB Tauris, 2006)
* Shaw, Tony. and Denise J. Youngblood. ''Cinematic Cold War: The American Struggle for Hearts and Minds'' (University Press of Kansas, 2010). [https://www.amazon.com/Cinematic-Cold-War-American-Struggle/dp/0700617434/ excerpt and text search]
* Vowinckel, Annette, Marcus M. Pavk and Thomas Lindenberger, eds. ''Cold War Cultures: Perspectives on Eastern & Western Societies'' (2012)
{{div col end|2}}

==External links==
* [https://www.pbs.org/30secondcandidate/timeline/years/1964b.html Video of the Daisy ad, from the PBS website]
* [https://web.archive.org/web/20060820212921/http://www.udel.edu/poscir/road/course/commercials/ A Historical Look at Campaign Commercials]
* [https://web.archive.org/web/20100808080608/http://citizentrack.blogspot.com/2007/05/emergence-of-maimed-hero.html The Emergence of the Maimed Hero]
* [http://www.leedberg.com/mad/spies/spies.html Spy vs Spy Gallery]
*{{KLOV game|id=8715|name=Missile Command}}

[[Category:Cold War]]
[[Category:Cold War terminology]]
[[Category:Cultural history]]
[[Category:Articles containing video clips]]

Revision as of 20:10, 9 October 2020

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