King of the Cold War crisis film, Dr. Strangelove became a cultural touchstone from the moment of its release in 1964. The duck-and-cover generation saw it as a satire on nuclear issues and Cold War thinking. Subsequent generations, removed from the film's historical moment, came to view it as a quasi-documentary about an unfathomable secret world. Sean M. Maloney uses Dr. Strangelove and other genre classics like Fail Safe and The Bedford Incident to investigate a curious pop cultural contradiction. Nuclear crisis films repeatedly portrayed the failures of the Cold War's deterrent system. Yet the system worked. What does this inconsistency tell us about the genre? What does it tell us about the deterrent system, for that matter? Blending film analysis with Cold War history, Maloney looks at how the celluloid crises stack up against reality--or at least as much of reality as we can reconstruct from these films with confidence. The result is a daring intellectual foray that casts new light on Dr. Strangelove, one of the Cold War era's defining films.

King of the Cold War crisis film, Dr. Strangelove became a cultural touchstone from the moment of its release in 1964. The duck-and-cover generation saw it as a satire on nuclear issues and Cold War thinking. Subsequent generations, removed from the film’s historical moment, came to view it as a quasi-documentary about an unfathomable secret world. Sean M. Maloney uses Dr. Strangelove and other genre classics like Fail Safe and The Bedford Incident to investigate a curious pop cultural contradiction. Nuclear crisis films repeatedly portrayed the failures of the Cold War’s deterrent system. Yet the system worked. What does this inconsistency tell us about the genre? What does it tell us about the deterrent system, for that matter? Blending film analysis with Cold War history, Maloney looks at how the celluloid crises stack up against reality—or at least as much of reality as we can reconstruct from these films with confidence. The result is a daring intellectual foray that casts new light on Dr. Strangelove, one of the Cold War era’s defining films.

This book questions the predominance of “media abundance” as a guiding concept for contemporary mediated politics. The authors argue that media abundance is not a universal condition, and that certain individuals, communities, and even nations can more accurately be referred to as media scarce – where access to media technologies and content is limited, highly controlled, or surveilled. Through case studies that focus on guerilla militants, incarcerated Indigenous people, and cold war‐era infrastructure, including Soviet “closed” or “secret” cities and Canadian nuclear bunkers, the book’s chapters interrogate how the once media scarce later “speak” to – and can be heard by – the predominant, abundant media culture. Drawing from several art projects and diverse cultural sites, the book highlights how media scarce communities negotiate and otherwise narrate their place in the world, their past experiences and lives, and escape from subjugation. To better understand media scarce politics, the book asks how and when communities become – by accident or force, by choice or necessity – media scarce. This innovative and insightful text will appeal to students and scholars around the world working in the areas of media and politics, art and politics, visual studies, surveillance studies, and communication studies.

Surveying disaster films from a Lacanian psychoanalytic perspective, this book explores the disaster film genre from its initial appearance in 1933 (The Grapes of Wrath, 1933) to its present-day form (Don’t Look Up!, 2021), laying bare the ideological unconscious at work within the genre. The Disaster Film as Social Practice examines environmental science, history, film and literature in its interdisciplinary analysis of the disaster film genre. It explores the interplay, and the dichotomy, of “restorative” and “reflective” disaster narratives. An analysis of cinema's role in symbolizing and managing collective anxiety around disaster and death narratives examines how disaster films, through their narrative structures and symbolic elements, contribute to the public's understanding and emotional processing of real-world threats, and how cinematic narratives shape and are shaped by public and private ideological discourses, reflecting deeper psychological and environmental truths. Finally, the book offers an overview of how the transformation of the disaster film genre over time tells a history through imagining the worst. Providing a nuanced understanding of the disaster film genre and its significance in contemporary culture and thought, this book will be of interest to scholars and students of film studies, cultural studies, media studies, and environmental studies.

In Learning to Love the Bomb, Sean M. Maloney explores the controversial subject of Canada's acquisition of nuclear weapons during the Cold War. Based on newly declassified Canadian and U.S. documents, it examines policy, strategy, operational, and technical matters and weaves these seemingly disparate elements into a compelling story that finally unlocks several Cold War mysteries. For example, while U.S. military forces during the 1962 Cuban Missile Crisis were focused on the Caribbean Sea and the southeastern United States, Canadian forces assumed responsibility for defending the northern United States, with aircraft armed with nuclear depth charges flying patrols and guarding against missile attack by Soviet submarines. This defensive strategy was a closely guarded secret because it conflicted with Canada's image as a peacekeeper and therefore a more passive member of NATO than its ally to the south. It is revealed here for the first time. The place of nuclear weapons in Canadian history has, until now, been a highly secret and misunderstood field subject to rumor, rhetoric, half-truths, and propaganda. Learning to Love the Bomb reveals the truth about Canada's role as a nuclear power.

Using strategic plans, intelligence analysis, and other materials that have only recently been declassified, Emergency War Plan examines the theory and practice of nuclear deterrence during the 1945–1960 period of the Cold War.

Accessible to general and academic readers, Gospel Thrillers interweaves close readings of key themes in a little studied fiction genre with 'real world' tensions over biblical vulnerability, evident in political and cultural debates over the Bible and in popular literature about the Bible and Christian origins.

Bertrand Russell (1872–1970) was a logician, a philosopher, and one of the twentieth century’s most visible public intellectuals. Science and Apocalypse in Bertrand Russell: A Cultural Sociology brings those three aspects together to trace Russell’s changing views on the role of science and technology in society throughout his long intellectual career. Drawing from cultural sociology, history of science, and philosophy, Javier Pérez-Jara and Lino Camprubí provide a fresh multidimensional analysis of the general themes of science, technology, utopia, and apocalypse. The book critically examines Russell’s influential interpretations of the turn-of-the-century mathematical logic, World War I, the metaphysics and epistemology of mind and matter, World War II, nuclear holocaust, and the Vietnam War. In Russell’s compelling narratives, humanity was a powder keg and the match was represented by different and successive meta-adversaries, such as religion, communism, and American imperialism. And the only way to avoid a coming global Holocaust was to follow his own salvific recipes. In working around Russell’s role in the cultural perception of the final destiny of humanity, Science and Apocalypse in Bertrand Russell invites the reader to think about the place of the techno-scientific sphere in human progress and decadence in both our current epoch and the distant future.

This deep dive into hundreds of Hollywood’s most iconic and beloved lines is a must-have for every film buff. "You Talkin’ to Me?" is a fun, fascinating, and exhaustively reported look at all the iconic Hollywood movie quotes we know and love, from Casablanca to Dirty Harry and The Godfather to Mean Girls. Drawing on interviews, archival sleuthing, and behind-the-scenes details, the book examines the origins and deeper meanings of hundreds of film lines: how they’ve impacted, shaped, and reverberated through the culture, defined eras in Hollywood, and become cemented in the modern lexicon. Packed with film stills, sidebars, lists, and other fun detours throughout movie history, the book covers all genres and a diverse range of directors, writers, and audiences.