Actual events would prove less romantic. Many out of those young nations became dictatorships, and the Third World as a whole played an ambiguous and complex international role of stratagems, alliances/reversals of alliances with the Superpowers. Often it was the battlefield in case of tiny, hot âwars by proxyâ that the Cold War allowed itself.
Culture
World War II shocked the world culture no less than the world politics and the world economy. In Western Europe the main problem, for some decades, was âshould an intellectual be committed?â âCommittedâ meant âworking within the actual political situationâ and forgetting the ivory tower. In most cases it meant to be a leftist, which meant to be a full-fledged communist or (in political jargon) a âfellow travellerâ or a âuseful idiotâ. Mountains of pages and billions of neurons were spent on this theme and this practice, on the ground that communism was the only real alternative to Fascism/Nazism.
Actually, writers, artists, musicians and philosophers didnât produce anything meant to be stable. They were rebellious and uncertain.
In 1945, Jean-Paul Sartre founded in Paris the journal Les Temps modernes, starting to build his role as Europeâs cultural and political leading opinion maker, and Jean Dubuffet opened his first one-man exhibition. In 1946, 1948, 1949, 1951 and 1958, William Carlos Williams published the five volumes of Paterson. In 1946, Jackson Pollock abandoned the brush and inaugurated the technique of squeezing, pouring, dribbling paint on canvas that would lead to the Action Painting. In 1947, Albert Camusâs The Plague, Thomas Mannâs Doctor Faustus, Anna Frankâs Diary and Tennessee Williamsâ A Streetcar Named Desire were published. In 1949, Jorge Luis Borges published The Aleph, George Orwell 1984, Arthur Miller Death of a Salesman, Konrad Lorenz King Solomonâs Ring and Margaret Mead Male and Female. In 1950, Kurosawa Akira directed Rashomon. In 1951, Julian Beck and Judith Malina founded the Living Theatre. In 1952, Ernest Hemingway published The Old Man and the Sea and John Steinbeck East of Eden, architect Le Corbusier completed in Marseilles the building of the CitĂ© Radieuse. On 5 January 1953, in Paris, Samuel Beckettâs Waiting for Godot premiered; in the same year sculptor Henry Moore created King and Queen, Jacques Tati directed Les vacances de M. Hulot and Mizoguchi Kenji Ugetsu Monogatari (Ugetsu); and James D. Watson and Francis H. Crick discovered the double helix of DNA. In 1954, Ilya Ehrenburg published The Thaw. In 1955, J.R.R. Tolkien completed the publication of The Lord of the Rings, Vladimir Nabokov Lolita (in Paris), Claude LĂ©vi-Strauss Sad Tropics, Satyajit Ray directed Aparajito (The Unvanquished). In 1956, John Osborne published Look Back in Anger, Allen Ginsberg Howl and Other Poems, Tanizaki Junichiro The Key; the Free Cinema movement was born in London, Ingmar Bergman directed The Seventh Seal and Ichikawa Kon The Burma Harp. In 1957, Boris Pasternak published (in Italy) Doctor Zhivago, Jack Kerouac On the Road, Vance Packard The Hidden Persuaders and the Nouvelle Vague took shape in Paris. In 1959, Raymond Queneau published Zazie in the Metro, EugĂšne Ionesco Rhinoceros; Charles P. Snow gave the controversial lecture The Two Cultures; Frank Lloyd Wright built the Guggenheim Museum in New York; Alain Resnais directed Hiroshima mon amour and Federico Fellini La dolce vita. In 1960, the New American Cinema was born and American Pop Art took shape.
For the United States, and for the many nations that imitated her, a novel of 1951 was indelible: J. D. Salingerâs The Catcher in the Rye. It told, with adolescent language, adolescent alienation, confusion, rebellion. Independently from its literary value, it depicted the themes and the times of a whole generation that was supposed to be happy, and became synonymous with it.
Almighty and Suspicious
The fifteen years from 1945 to 1960 were a contradictory time for the United States. Victory in the war, together with an extraordinary economic expansion and the simultaneous collapse of the traditional world powers (UK, France, The Netherlands, Japan), gave the US a position of planet leadership. To the rest of the world, America presented a picture of prosperity, generosity and optimism â an image reinforced by American financial aid, particularly to Europe.
Such splendour, however, was not faultless. The Cold War against the Soviet Union hid psychological disquiet and phobia, which materialized in the âMcCarthyistâ persecution of the Left. Cinema replaced the portrayal of the bold American â naĂŻve, perhaps, but always inexhaustible â with new characters and new actors (from Montgomery Clift to Marlon Brando, James Dean and Anthony Perkins) who expressed anxiety, uneasiness and neurosis. Juvenile crime increased, and the large American middle class gradually became aware of its sociocultural fragmentation. Beatnik communities arose to propose an autonomous counterculture. The consumer age broke out with the popularization of television and modified decades-old patterns of thought and behaviour.
It was precisely television that helped precipitate the crisis of cinema. Starting in 1946, the sale of television sets increased dramatically; shortly afterward, the networks began broadcasting in colour. This new kind of home entertainment kept huge numbers of spectators away from the theatres. Then, in 1948, with a decision which ended years of litigation, the Supreme Court upheld the ruling in the United States vs. Paramount et al. trial, involving all major California movie companies, pursuant to the antitrust law. From that time on, the three components of production, distribution and exhibition were to be separated. The verdict terminated the companiesâ monopoly over the audience and ended the lifestyle and work methods that had characterized the entertainment field. In short, it marked the end of legendary Hollywood.
Comedy evolved. Deprived of artists such as Capra, Lubitsch and Stevens, it survived through the work of craftspeople and through the caustic films of Billy Wilder.
In the late 1950s, causticity became a rule outside cinema, with the âsick comediansâ â educated entertainers, well versed in quick political gags and dirty words, who addressed students and intellectuals in the thousands of night clubs which spread like mushrooms after the war. Their favourite topic: the American malaise. The group, which included Lenny Bruce, Mort Sahl and Dick Gregory, exerted its influence for years, spawning artists such as Woody Allen. In contrast, the old slapstick comedy, with its absurd pyrotechnics, was dismissed as being definitively naĂŻve, as the inheritance of a âchildishâ age; Jerry Lewis and Bob Hope, who partially hearken back to it, became isolated phenomena.
In music, alongside the concert-hall experiments of the likes of John Cage, bebop reigned; a form of jazz born in the black ghetto, it was, by its own definition, the expression of an âalternativeâ culture. Artists such as jazz musician Charlie Parker, writer Jack Kerouac, poet Allen Ginsberg and painter Jackson Pollock were all heralds of a marginal world and the bearers of stylistically overflowing, rebellious ideas. Initially, what they all wanted was to detach themselves from the mainstream of American culture; inevitably, they were absorbed and embraced by the market (especially Pollock and his colleagues of Action Painting).
Hollywood animation shared the fate of the film industry in general; as its most frail branch, it was the first to dry out. Animated shorts, which had always been regarded as fillers, were eliminated without being really missed as costs rose. Studios shrank and gradually closed. Very few young artists joined studio staffs. Disney was the first to reduce the production of shorts, concentrating on feature films and, later on, other projects such as live-action features for children, documentaries on the wonders of nature and the very successful amusement parks. In the meanwhile, avant-garde groups collected the spiritual inheritance of Mary Ellen Bute and Oskar Fischinger and gave rise to new, rich productions of abstract animation, which perfectly complemented the stylistic and linguistic research of off-Hollywood filmmakers.
Traditional, round-shaped drawings (âO-styleâ) could no longer compare with the drawings of comic-strip artists, fashionable cartoonists and advertisers. American animation was born from popular comics and their inevitably poor drawings had flourished in the caricature/childrenâs book style of Walt Disney; now, for the first time, it would join the group of the major commercial arts. Animators found themselves looking with awe at the style of artists, such as the New Yorker cartoonists James Thurber and Saul Steinberg, and at the subversive humour of the corrosive New York magazine, Mad. For the first time, American animation would follow the national and international trend, and would even contribute to set it. This was a vital boost, if also a temporary one: after some years, that approach, too, would fall irremediably out of fashion. In other words, for animation this was a time of indecision, incertitude and even opacity in the USA and the rest of the world as well.