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The Resurgence of Cold War Imagery in Western Popular Culture Daniel Van Jelgerhuis

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The Resurgence of Cold War Imagery in Western Popular Culture Daniel Van Jelgerhuis Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 The Resurgence of Cold War Imagery in Western Popular Culture Daniel Van Jelgerhuis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE RESURGENCE OF COLD WAR IMAGERY IN WESTERN POPULAR CULTURE By DANIEL VAN JELGERHUIS A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2015 Daniel Van Jelgerhuis defended this thesis on April 16, 2015. The members of the supervisory committee were: Lisa Wakamiya Professor Directing Thesis Robert Romanchuk Committee Member Leigh Edwards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii TABLE OF CONTENTS Abstract ........................................................................................................................................... iv 1. INTRODUCTION .......................................................................................................................... 1 2. REAL LIFE .................................................................................................................................... 6 3. ANACHRONISM ........................................................................................................................ 14 4. NOSTALGIA IN SCIENCE FICTION .............................................................................................. 17 5. US AND THEM .......................................................................................................................... 21 6. CONCLUSION ............................................................................................................................ 23 Works Cited ................................................................................................................................... 25 Biographical Sketch ....................................................................................................................... 27 iii ABSTRACT The portrayal of Russia in Western popular culture has served various purposes, particularly between 1945 and 1991. With a few exceptions, Soviet citizens, particularly Russians, have been shown as, alternatingly, backwards peasants and cunning enemies. In the post-1991 period, this tradition of showing Russia as the enemy continued in film and television, but tapered off in favor of more seemingly relevant foes on the world stage. While film analyses focusing on the portrayal of Russia and Russians have been done, the renewal of focus on Cold War imagery in reference to Russia and the West has not been commented on. Because of the so-called Illegals Program uncovered in 2010, the attempted “reset” between the United States and the Russian Federation, increased Western media coverage of human rights issues in Russia, and many other types of exposure, including the annexation of Crimea and the conflict with Russia-backed anti-Kiev militias in eastern Ukraine, Russia has taken center-stage and is subject not only to international scrutiny, but also to rehashed prejudices and outdated knowledge of the country that stems from old antagonisms. The television programs The Americans, Archer, and Doctor Who all look at Russia and the relationship of Russia with the West through a Cold War lens. I argue that this resurgence is in response to both Cold War nostalgia and a renewal of Russia’s relevance on the world stage. By analyzing these programs, it will be shown that the types of information and impressions that are being promoted by popular culture of late at once serve to provide nuance to an ordinarily one-sided and limited portrayal of Russia and its people, and at the same time reinforce old, stale images of the “Evil Empire” that only serve to prevent understanding and cooperation between the citizens of the West and of Russia. iv CHAPTER 1 INTRODUCTION That is, the Cold War is a dialectic without the possibility of historical progress or, to be more precise, a dialectic in order to avoid historical change, since the ultimate purpose of Cold War enmity is to consolidate both of the warring political systems. - Roland Végső Much of the Cold War, and much of “peacetime” US/West-Russia relations, is characterized by misunderstanding and subsequent assumptions based on misunderstandings and blunders that might seem comical, were it not for the fact that enmity between the West and Russia has been made to seem intractable. A hallmark moment took place in March of 2009, with a symbolic joint press conference between then-Secretary of State Hillary Clinton and Russian Foreign Minister Sergei Lavrov. At this meeting, a red button was presented for both Clinton and Lavrov to press, symbolizing the attempt at a reset of US-Russia relations. The word for “reset” was supposed to have been written on the base of the button in both English and Russian, but due to a typographical error (and the fact that the Russian was transliterated into English) the Russian text did not read “reset” but “overload” (peregruzka = overload, overburden in place of, perezagruzka = reset, reboot). The irony was not lost on Lavrov, who chuckled as he pointed out this mistake (Associated Press). The more cynical elements of the Western press jumped on the Lavrov-Clinton exchange as further proof that there can be no reset between the two nations. Overall, it was a silly gimmick that backfired, but Lavrov and Clinton, being diplomats, did their best to turn the mistranslation into something more palatable, each citing that the other has quite the “burden” in terms of work towards this ostensible reset. 1 When a diplomatic event plays out as a farce, it’s hard not to draw parallels between popular media and real-world happenings. Films, video games, books, comic books, television, music - much of what is considered to be popular culture - are sold as amusing and enjoyable and even thought-provoking entertainment, but they also function as a medium for the dissemination of ideology. Popular culture can also prescribe resolutions to long-standing cultural misunderstandings and perpetuate new ones in their place. John Hartley proposed in his 1999 work Uses of Television that television has become sort of “transmodern teacher,” as it is a medium that has both global and localized reach. It has the capability of forming global communities, as well as localizing content to particular regions. He also claims that, if television is to be considered teaching, it is “part of the convergent GEM- conglomerate (Government-Education-Media)” as each component serves a role in television and vice versa. He states that “government teaches via drama (politics as theatre); media govern by education (entertainment is both ideological and instructional); education dramatizes government (schooling instills (self)-discipline)” (44). If Hartley’s theory is applied to perpetuation of cultural stereotypes in popular culture, it may be said that the stereotypes are inherited from political narratives, narratives that impact real decision-making in both the civilian realm and the realm of governance and international relations. What emerges is what Michael Delli Carpini and Bruce Williams called the “hyperreality” and “multiaxiality” of the so- called New Media, in which political narratives inform mass media and popular culture, and popular culture and other media contribute to American political knowledge and opinion ("Let Us Infotain You: Politics in the New Media Age" 170). 2 What many citizens in the West know about Russia is acquired from a variety of sources, including popular television programs informed by or based upon current events. If television performs the educative-socializing role that Hartley identifies, popular programs draw upon and reinforce ideas that dominate news narratives and current events. Contemporary Western, and particularly American and British, ideas about Russia and the former Soviet Union were formed during the Cold War. Today’s producers and writers draw from the tropes and stereotypes established during this time of tension and conflict, and in the context of present tensions, revive these tropes to depict current Russia-US relations. Television programs have the capacity to perpetuate tired tropes, but more importantly can address topical concerns with an agility that film cannot. Programs such as The Americans, Archer, and Doctor Who use tropes and character types established in the West during the Cold War in response to increased tensions in present-day US-Russia relations and new, more fluid relationships between politics and popular culture. In addition to demonstrating how contemporary programs draw from Cold War era political narratives, I will demonstrate how the popular perception that a revival of the Cold War is underway is, in part, being perpetuated by popular culture. Hartley’s theory of television as “transmodern teacher,” coupled with research that contends that popular culture and entertainment media have a significant impact on the formation of opinions (Mulligan and Habel), lends credence to the idea that the stereotypes and images perpetuated in popular culture have significant, real-world impact. My attempt to merge the study of international
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