Introduction
From the 1950s until the early 1990s, Cold War anxieties profoundly affected practically every element of life in the U.S. The widespread apprehension of Soviet dominance and communism usually resulted in strong and impassioned political opinions, which finally influenced the attitudes and behaviors of common citizens and political and commercial elites everywhere. Hence, the Cold War was a war of ideologies, and cinema was a crucial component of this cultural battle. Hollywood aimed to disseminate American ideas in opposition to communism, and in this way helped to accelerate the spread of liberal values beyond the U.S. to other parts of the world.
Disney’s Ties with the U.S. Government
Popular media constituted an essential contributor to propaganda for promoting both anti-communist and pro-democracy sentiments, frequently with children in consideration. Walt Disney’s media empire was infamous for championing fundamental American values in an attempt to combat communism. Walt Disney maintained strong ties with the U.S. government throughout World War II and would persistently exert his power throughout the Cold War era. He produced many training movies and educations shorts that placed him as a key figure in the Cold War (Silverstein 24). Accordingly, in the 1940s, the United States Treasury Department was eager to exploit Disney animation to exert stronger social influence over mainstream discourse (Cunningham 1). Disney is an excellent illustration of the government’s efforts to propagate liberal principles as a reaction to the danger of communism.
A classic example is the episode “Our Friend the Atom,” which aired on Disney’s weekly T.V. show in 1957. This episode advocated in support of the coming “Atomic Age.” It seems to be primarily instructional. Mainly, it details the atom’s development and subsequent inventions, beginning in ancient Greece. The episode explores the breakthrough of radiation and the metals uranium and radium and their significance in the development of atomic warfare (CosmoLearning). Since most Americans remained fearful of the effects of nuclear weapons, the empirical arguments aimed to dispel any potential misunderstanding regarding the dynamics of atomic energy. While this information is presented throughout three-quarters of the episode’s running time, everything culminates in a central premise delivered over the last 10 minutes. Disney’s continuous support for atomic power can be seen in these final few moments. He advocates for the possibility of various breakthroughs to be achieved due to the inventions made in this field.
The first justification Disney raises in favor of atomic energy is the increased demand for electricity. Atomic energy has the potential to replace sources of energy, including oil and coal (CosmoLearning). This atomic power could be utilized to power vessels, submarines, and planes. As a result, these resources would eventually be redirected into military expansion. The video acknowledges both the creative and catastrophic potential of atomic energy, arguing for its constructive capabilities to promote harmony (CosmoLearning). This reflects Disney’s view of the U.S. as a global powerhouse capable of improving the living standards of native communities globally. The title is incorporated into the movie since the atom is frequently alluded to as a “friend” and something humanity should embrace instead of rejecting (CosmoLearning). Although many Americans were afraid of atomic power, Disney shows that it is possible to control such power and utilize it purely for legitimate purposes.
Overall, the film shows Walt Disney’s unwavering support for growing U.S. strength during the Cold War. He regularly exploited his unparalleled platform to further his views for bolstering America’s global supremacy. While the movie seems to be primarily instructional, with its long history of atomic breakthroughs given in the film’s longest portion, his traits as a Cold Warrior become apparent in the final parts. Using his promotion of atomic weapons to improve humanity, Walt Disney envisioned a stronger American civilization that would someday revolutionize the globe with its discoveries of nuclear technology. This means that in the 1950s, Walt Disney’s enterprise served to entertain, but it also communicated his views concerning the United States and its place in the world.
American Values in Disney’s Filmmaking
Likewise, Disney produced the Davy Crockett TV show, which aired during the 1950s. Disney’s accomplishment in presenting this romanticized version of Davy Crockett made him a well-known personality among American television viewers. Most of Davy Crockett’s attributes accorded specific emphasis in this show to portray him valiantly, despite the series’ anti-communist and military themes as shown in see figure 1 (The Movie Database). It is clear from these representations that the Cold War era had its ideas about what heroic attributes youngsters should emulate. Furthermore, the recurrence of other American virtues like family and religion indicates Disney’s overt agenda of encouraging these particular beliefs.
Davy Crockett’s unwavering devotion to the rule of law is among his most defining characteristics and one that repeatedly surfaces in the movie. There is a continuing battle with the indigenous tribes in the movie, which is set in the early nineteenth century, primarily regarding the problem of land (The Movie Database). Even though most American settlers despise native peoples and their claims to land, Crockett continuously defends their liberties, whether it involves breaking instructions. This is demonstrated early in the movie when the Americans conflict with the native folks (The Movie Database). Crockett enters hostile territory defying his commander’s instructions, hoping to negotiate with the indigenous people and partake in their favorite combat. Crockett decides to reconcile with them instead of seizing the enemy’s territory after defeating its commander.
Similarly, Crockett stops other American leaders who have violated native peoples’ agreements. He likewise opposes Bigfoot Mason and succeeds him as a town magistrate, demonstrating that virtue triumphs. Thus, this recurring trend of nearly street justice communicated to younger audiences the need to take action and support justice, especially regarding protecting others’ liberties (The Movie Database). This is consistent with the Cold War mentality, which evolved in the second part of the 1950s, raising kids to be contributing society members and uphold American values such as liberty, much as Crockett strove to defend indigenous people’s rights.
Cinema, Anti-Communism, and the Child’s Responsibility
While prominent personalities like Walt Disney routinely included anti-communist sentiments in their productions, they were not the only creators who gave perspective on Cold War events. Numerous films created by non-profit groups advocated for the conservation of American values and principles while opposing communism. These movies portrayed bravery, religious faith, and the need to be vigilant when facing an adversary (McGee 59). Additionally, they regularly emphasized family issues and the importance of children in the situations they witnessed, providing a coherent narrative of kids’ place within the Cold War accord.
Invasion of the Body Snatchers debuted in 1956 when Cold War anxiety was at its highest point. During the 1950s, science fiction was a popular genre that explored strange events to reflect American worries (McGee 62). Although the producer’s intentions are uncertain, the picture has important themes that match the mania surrounding communism at the time. These aliens closely resemble humans and eventually displace them altogether. As a result, an emotionless alien civilization emerges, with no trace of personality, autonomy, or human existence. The body snatchers are described as “A disease spreading through the whole country,” for they have taken over the bulk of the town (Lilly and Benziger 68). Communist ideas were frequently viewed as having a disease-like impact that would contaminate the entire nation if suitable action was not taken, much like body snatchers. “Don’t go to sleep” becomes the slogan while Dr. Bennell and Becky are portrayed as the only characters that can repel the adversary (Lilly and Benziger 68). Going to sleep or losing that vigilance for even a fraction of a second may be interpreted as allowing communists to infiltrate American ideology.
The invasion, which takes place in small-town America, threatens local communities and might become a large-scale societal menace if no action is taken. Figure 2 shows a body snatcher’s hand trying to grab residents scampering for safety. As a result, preserving these little villages protected the friendly communities where families could live safely. In one of the scenes, a little child thinks his mother has been swapped with an impostor when he notices the body snatcher. “Don’t let her get me!” pleads the child constantly (Lilly and Benziger 69). As a result, this picture depicts youngsters’ perceived threat due to Communism’s invasion. The youngster was the first to notice the “Communist” body snatcher, noticing that something was “wrong,” implying that children were considered capable of distinguishing between good and evil and that the communists were wicked, causing great grief. Additionally, as Dr. Bennell rushes down the highway at the film’s end, he cries, “They’re after us- your women, your children!” (Lilly and Benziger 70). Thus, he stresses the maintenance and protection of family, just way anti-communist rhetoric utilized the protection of families and children as an incentive to keep the enemy away.
Blood Alley is another 1950s picture that depicts anti- communist sentiments but has a considerably more militant tone. The movie employs minimal symbolism since it is set in communist China and has conventional remarks indicating Western disdain for the leadership. The film stars John Wayne as Tom Wilder, a successful actor in the 1950s who protects a group of Chinese refugees from the dangers of communism. After the foundation of the Chinese Communist state in 1949, the United States faced a new challenge in the form of Chinese communists, who are shown in the movie with an adversarial mindset. Likewise, it incorporates heroic themes and the importance of faith in the fight.
Wilder approaches a communist soldier early in the film, calling him “Comrade,” but he does it jokingly. Western scorn for communist countries is evident in the film’s use of contemptuous words. The term “comrade” is only used to make fun of someone. Later in the book, Wilder refers to himself as a “Guest of the Commies,” another derogatory phrase for Chinese people (Lilly and Benziger 71). Another term widely used in the film to describe communists is “the Reds.” Overall, the film exhibits little reluctance to use harsh words toward Chinese people, demonstrating anger toward those who threaten traditional democracy.
Another example of science fiction film commentary on the menace of communism is The Blob. It relates the story of a strange mass that arises out of nowhere and starts devouring the residents of a town. Expressing immigrants’ long-held fears and ambiguous political opinions appear to be from outer space as if it were an alien. The Blob’s color is red, which corresponds to the fear of the “Reds” in particular, representing the extraordinary threat of communism (Lilly and Benziger 72). The town’s consumerism symbolizes the essence of communism, which was considered to catch victims to spread its beliefs. There was no possibility to remove the Blob once it had latched onto a victim, as the old guy who found it had proved. The Blob expanded in size as more people fell victim, much as communist ideologies were believed to spread wider and infect more people. The communist threat will eventually devour entire towns with ideas, murdering them. In other words, communism was a dangerous, unpredictable foreign entity that had to be exterminated before it could kill.
The film’s basic stance regarding Chinese people demonstrates blatant bigotry against Asian nations. In contrast to the Americans, almost all Chinese actors in the movie are portrayed as exceedingly basic. The Chinese are often portrayed as subordinates who take commands, whereas the white American protagonists cause the road to freedom and safety. This was a significant reflection of the historical period when Americans were urged to guide less advanced Asian countries toward democratization since they were incapable of doing it themselves.
Conclusion
During his long career, Walt Disney achieved a lot as a filmmaker. Disney was not simply an entertainer, but he also served as a historical peacemaker with his weekly television programs and notable films he produced. His work enabled Americans to deal with the upheavals of the twentieth century, including the Cold War, which was often frightening. This was an inadvertent but obvious part of his job.
Works Cited
CosmoLearning. “Our Friend the Atom (1957).” CosmoLearning, 2011, Web.
Cunningham, Amanda Michelle. “Walt Disney and the propaganda complex: Government funded animation and Hollywood complicity during WWII.” (2014). University of Nevada, Web.
Lilly, Jennifer, and Karl P. Benziger. Dismantling Communism in the Early Cold War: Themes in Children’s Media. Rhode Island College, 2019. Web.
McGee, Mark Thomas. Invasion of the Body Snatchers: The Making of a Classic. BearManor Media, 2012.
Silverstein, Barry. World War Brands: World War II and the Rise of the Modern American Brand. GuideWords Publishing, 2021.
The Movie Database. “Davy Crockett (1954).” The Movie Database, n.d, Web.