Cold War, Cool Medium » (1st Edition)

Thomas Doherty is a professor in the American studies department and chair of the film studies program at Brandeis University. He is the author of Projections of War: Hollywood, American Culture, and World War II; PreCode Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934; and Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s, and is associate editor of the film journal Cinéaste.

Though conventional wisdom claims that television is a co-conspirator in the repressions of Cold War America, Doherty argues that during the Cold War, through television, America actually became a more tolerant place. He examines television programming and contemporary commentary of the late 1940s to the mid-1950s -- everything from See It Now to I Love Lucy, from Red Channels to the writings of Walter Winchell and Hedda Hopper. By rerunning the programs, freezing the frames, and reading between the lines, Doherty paints a picture of Cold War America that belies many black and white cliches.

Publishers Weekly

Television was a provocative medium almost from its inception. It brought the horrors of McCarthyism into American homes-some claimed it abetted the effort-but it also allowed viewers an opportunity to see ethnic minorities (The Goldbergs) and watch political debate (Meet the Press). Ultimately, it aided the decline of anti-communist hysteria. "Television became an artery as vital to the pulse of American life as the refrigerator," writes Doherty, Brandeis University film studies chair. He simultaneously explores TV's wonders and skillfully exposes the power of pressure groups on the new medium, which acted out the psychosis that dominated the 1950s. Relying on thorough and enlightening research, Doherty notes the ironies, anti-Semitism and class prejudices that underlined Sen. Joe McCarthy's ascension on the heels of HUAC, the House Committee on Un-American Activities. TV and the blacklist were the weapons of choice for McCarthy-styled politicians, whose ambitions and paranoia assaulted the decencies and legalities America held dear. In its embryonic stages, TV needed to fill airtime, hence, Doherty reports, "commitment to free expression and open access was self-interest." Americans saw the Hollywood Ten testify, but they also saw African-American performers on The Ed Sullivan Show, solid dramas on Playhouse 90 and the first presidential press conference. Television brought Bishop Fulton J. Sheen's Life Is Worth Living into living rooms, tethering Catholics to Americanism. Edward R. Murrow's See It Now, coupled with McCarthy's disastrous attacks on the army and rumors of homosexuality, contributed to his downfall. Doherty chronicles the medium and its players with style and scholarship, breaking his subject down by theme and focusing on particular programs throughout. (Nov.) Copyright 2003 Reed Business Information.