By Jacqueline Foertsch
This e-book explores the foremost cultural kinds of Nineteen Forties the United States - fiction and non-fiction; song and radio; movie and theatre; critical and renowned visible arts - and key texts, developments and figures, from local Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob desire. After discussing the dominant principles that tell the Forties the publication culminates with a bankruptcy at the 'culture of war'. instead of splitting the last decade at 1945, Jacqueline Foertsch argues persuasively that the Forties may be taken as a complete, looking for hyperlinks among wartime and postwar American tradition. Key good points: * concentrated case experiences that includes key texts, genres, writers, artists and cultural developments * certain chronology of Forties American tradition * Bibliographies for every bankruptcy * 20 black and white illustrations
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7 Americans across the political spectrum thought twice about US involvement. Indeed, in the late 1930s, American munitions-makers sought to do business with both defenders and aggressors in the new European conflict, while the wealthy and prominent wished to maintain their schedule of transatlantic crossings uninterrupted by embargoes, inspections, or, worse, commandeering or attack by hostile entities. 8 To sell arms to or book passage with nations on either side of a conflict was deemed an exercise of ‘neutral rights’ by those who wished to augment business relations by remaining politically circumspect.
Supporting the sixteen million troops eventually deployed were millions of workers and volunteers in the defence industries – weapons, transport, material comfort, even entertainment. Even those retired, unemployed, or of school age did their part through rubber, metal, and newspaper drives and, of course, through sacrifice of their loved ones – almost half a million Americans killed and 670,000 wounded – to the voracious military machine. The traditionally ‘unemployable’ sectors – white middleclass women, poor whites, Americans of colour, and the physically impaired – had opportunities for meaningful, lucrative work.
Cousins’s populist appeal updated for an atomic era the mid-war sentiments of two very different proponents of world governance. One of these was former presidential hopeful Willkie, whose One World (1943), quickly a multi-million seller, urged the codification of international relations, and stressed the vital significance of China following the war. 74 Like Cousins, Niebuhr observed a ‘technical civilisation’ seized together by its own distance-shattering inventions but knew that, even while certain technologies (the telephone, the aeroplane) brought peoples together, others (especially the weapons of war) threatened to tear them apart.
American Culture in the 1940s (Twentieth-Century American Culture) by Jacqueline Foertsch