Dr. Strangelove 's Argument For The 1964 Film Essay

Stanley Kubrick’s sexual parody, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, illustrates an unfathomed nuclear catastrophe. Released in the midst of the Cold War, this 1964 film satirizes the heightened tensions between America and Russia. Many sexual insinuations are implemented to ridicule the serious issue of a global nuclear holocaust, in an effort to countervail the terror that plagued America at that time. Organizing principles, such as Kubrick’s blunt political attitudes about the absurdity of war and the satirical genre, are echoed by the film style of his anti-war black comedy, Dr. Strangelove.

Even though Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb screened in the midst of the sobering Cold War, critics were keen on praising the film for its mastery of humor applied to such a sensitive matter. The film is exceedingly loaded with metaphors, innuendos, and allusions that nothing can be left undissected or taken for face value; the resulting effect is understood to be part of Kubrick’s multifarious theme. Kubrick has stated that what began as a “the basis for a serious film about accidental war ” eventually birthed an absurd and farcical classic comedy. The director fuses together irony, satire, and black humor to create a waggish piece but most of all the situation of the times and its

During the post WWII period in America, the face of the nation changed greatly under the presidency of Truman and Eisenhower. America underwent another era of good feelings as they thought themselves undefeatable and superior over the rest of the world. Communism was the American enemy and American sought to rid the world of it. Because of the extreme paranoia caused by Communism, conformity became an ideal way to distinguish American Culture from the rest. Conformity became a part of every American Life to a large extent. It became evident through the medium of culture, society and politics throughout the era of the 50s.

Since the late 1940s, American cinema has been obsessed with the idea of the atomic bomb and what it stands for; whether that be destruction or absolute power depends on the film. This symbolism would then come to define the 1950s, and later on American cinema as well. This symbolism then must be addressed from the lenses of, both, history and socio-political commentary. Then the question must be posed why specifically these two lenses? The answer to this question, then, lies in the films of the 50s, and beyond. Whether this answer lies in the apocalyptic imagination present in the films or the politics of the time, McCarthyism would influence American culture far beyond the 50s, depends on the historian who is asked. The answer, then,

At this time both the democratic United States and the communist Soviet Union believed that successful advancements in technology would enable them to assert strength and superiority. According to Achieve 3000, “Case Against Rosenberg Falls Apart,” “In 1949, The Soviet Union test-launched an atomic bomb, an act that raised suspicions within the U.S. government” (1). Also, the thought of the Soviet Union having the ability to relinquish such a devastating weapon on the United States frightened the people of America as well. When the Cold War developed in the late 1040s the U.S. government again feared that the communist revolution in the Soviet Union would influence many people in the U.S. to do the same. According to the text,”The fear of communism even spread towards Hollywood when a congressional group called the House Un-American Activities Committee (HUAC) investigated communist influence in the entertainment industry, issuing subpoenas to writers, actors, directors, and studio executives and asking them, ‘Are you or have you ever been a member of the Communist party’”(1).

The novel starts off talking about the culture of America in the 1940s to 1950s and how the American culture was distorted. It was distorted through Communism, ideological politics and brought out fears in the American society. Stephen believed that communism was the biggest fear in society and he exclaims “Indeed, the system that the Bolsheviks had created in the Soviet Union and had imposed beyond their borders was even more hideous in its devastation of human values than many of its vocal opponents in the 1950s realized” (). The way that Communism was set up was unfair to the people and the fact that it could spread out to other countries was a big concern for America. The U.S. thought that Communism could become something as sinister as Nazism and that it could overtake multiple places. Also, when the Soviets started to gain more military firepower, the U.S. thought that the lack of change in political systems could lead to a nuclear warfare and could possibly cause a nuclear fallout.

American fears in the Cold War originated not only from Communism, but what it represented in American culture. After World War II, the popular culture demonizing the fascist regimes, the built-up aggression surrounding the system, began to move against Communism as tension between the USSR and America rose. Communism became viewed as a corruption; an infection that ruined the rugged individualism that Americans defined themselves by. Communism also, though its declaration of the evils of capitalism, decried Americans as living in an unequal society, that the United States lived in hypocrisy through its statements of liberty for all while it existed in a capitalist and segregated society. Americans saw the Soviet Union as the evil its heroic

In an effort to capture the effects of paranoia of the Red Scare in 1950s America, The Manchurian Candidate is filmed with the intentional techniques of character-following shots, plays on lighting, and mise-en-scene. These film techniques are utilized to make the argument that paranoia can be used to control others with the use of force as one tries to make sense of the chaos around themselves. Throughout the film, audiences fall into a sort of confusion when trying to determine the characters on the side of good or evil. Just as the audience gets trapped in the confusion of the film, the American people fell into pandemonium during the Cold War and were forced upon by the government to be on the side of freedom and democracy or be forced

Of the factors which shaped American society in the Cold War era, the fear of communism and its potential to spread imposed the greatest effect upon the United States. From the worldwide devastation of World War II arose two powers: United States of America, fueled by a capitalist economy, and the Union of Soviet Socialist Republics, or USSR, whose economy embodied the communist ideals of Karl Marx. Marx himself stated, “Communism is already acknowledged by all...powers to be in itself a power”. Marx predicted the power of a communistic society well before the first World War began. In the wake of the devastation

Chosen films, such as, The Thing from Another World and Rebel Without a Cause highlighted the less conventional perception of the 1950s and the era’s inevitable push for scientific and cultural prominence in lieu of an infinite desire for dominance against formidable world contenders like the Soviet Union. In an era where scientific development had to oppose a phenomenon known as the Red Scare, America looked to build a vast empire focused on principles separated by “hard” and “soft” power. Hard power was recognized with military prowess and soft power with economic advantage. Even though the US was the economic leader by the 1890s,

A lot can happen in sixty years, and America is no exception to that statement. It is arguable that one of the biggest differences regarding America in the 1950s to modern America is culture. The movie “Pleasantville” reflects much of these cultural differences from 1950s to today in a creative and thoughtful way. It also provides much useful insight into the cultural conflicts America faced throughout the 1950s. The many differences between 1950s culture and modern day culture, my own opinion which time period I would personally choose to live in and cultural conflicts of the 1950s will be discussed throughout this essay.

This essay is based on films of the same story, told in different ways, with emphasis, themes, meaning and interpretation shaped or shaded by the situation of the storyteller; the cinematic mise-en-scene. Based on the same story, the films reveal and reflect the film-maker’s social norms and views, emerging from their different national contexts. While exploring the two films, this essay will examine elements of film language or semiotics: color saturation (or black and white), sound, setting, type of camera angles used; repetition of visual motifs (Metz, 1985). The two films explored were made in the 1960s. Neither film is American, yet both reveal influences and reflections on American cinema and American power; the Western film, adherence or detracting from Hollywood Classical cinema tropes, i.e. close-ups, shot-reverse-shot, POV, depth of field (Bazin, 1985: 128-9). The two films are Kurasawa’s Yojimbo (1961) and Leone’s Fistful of Dollars (1964), from Japan and Italy, respectively. How are they different; how similar? Why do they use the same plot,

Before analysing individual science-fiction films from the 1950s, it is important to gain a clear understanding of the social, cultural and political background against which these films were set. Paranoia is a term frequently used to describe an acute, anxiety dominated medical condition (Paranoia, 2009), however in the context of 1950’s America, this term can be used more accurately to describe the general, delusionary mood of the nation. The first important event that influenced a paranoiac filmmaking atmosphere was the Cold War. As opposed to the ‘hot war’ (WWII) that involved active military hostilities, the Cold War was based on heightened tension and suspicions between Western Bloc (USA) powers and Eastern Bloc (Soviet Union) powers (The

“The Adventures of Mr. West in the Land of the Bolsheviks”(1924) is a silent film comedy about an American businessman’s experience in Moscow, yet the historical significance of the film gives you some idea of how the lower classes in Moscow in the 1920’s are living and how events that were relatively recent , the famine of 1921, affected the film. Also the idea of class struggle that is portrayed in the film between the characters and how their class is connected their actions. The amount of symbols in the film are great from the U.S flag to the peasant thieves themselves as it is warning of western/capitalist ideology. Although this film is about a gullible American it does not go into foreign relations between the nations and does not portray the United States as “evil”. This film probably went through censorship and was a propaganda tool for the masses, but it only targets a specific group, the proletariat, within the Soviet Union and rejects another group, the peasants. The greatest purpose of this film was to promote government competence and move blame for social problems to the peasants with capitalist ideology.

Genre is a reflection of society. Film noir is a genre that has a distinctive relationship with the American society from 1941 - 1958 because it reflects America’s fears and concerns from when they experienced major upheaval after The Great Depression and during World War I. In particular, the unstable atmosphere from the aftermath of World War 1 as Bruce Crowther, author of the book ‘Film Noir: Reflections in a Dark Mirror’, elaborates on how Film Noir films produce “a dark quality that derived as much from the character's depiction as from the cinematographer’s art.” These dark moods are transparent through the key features of the femme fatale, the film techniques and the impact of the Hay’s code on American film and American society.