Cold War

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Dreams of a colder war

11 January 2010 in After 1950, Aircraft, Art, Blogging and tweeting, Cold War, Ephemera, Pictures by Brett Holman | 8 comments

Freedom has a new sound!

It is officially too darn hot today: 43° C. So naturally my thoughts turn to a colder time: the 1950s. The above image (which I found as part of x-ray delta one's wonderful Flickr stream; he also has a suitably breathless blog, ATOMIC-ANNIHILATION) would seem to be part of a public relations exercise from Convair, relating to its interceptor, the F-102A Delta Dagger. I'm not sure what year it's from exactly, but the Dagger entered service in 1956, so probably then or the following year. (So it could be an early effort from Don Draper.) Evidently there were a lot of complaints from the public about sonic booms from the Dagger, the USAF's first supersonic interceptor. The text is really something else; it almost circles right through brazen propaganda to become an honest argument that sonic booms really are good for you. Almost:

Freedom Has a New Sound!

ALL OVER AMERICA these days the blast of supersonic flight is shattering the old familiar sounds of city and countryside.

At U. S. Air Force bases strategically located near key cities our Airmen maintain their round the clock vigil, ready to take off on a moment's notice in jet aircraft like Convair's F-102A all-weather interceptor. Every flight has only one purpose -- your personal protection!

The next time jets thunder overhead, remember that the pilots who fly them are not willful disturbers of your peace; they are patriotic young Americans affirming your New Sound of Freedom!

Presumably the next panel would show the milkman clutching his ears and screaming in pain, and the one after that the homeowners sweeping up the bits of broken glass. That new sound of freedom wasn't free.

The war with Eurasia/Eastasia

31 December 2009 in 1940s, Books, Cold War, Nuclear, biological, chemical by Brett Holman | 22 comments

Just as when reading Brave New World I applied my airminded filters and extracted Aldous Huxley's vision of future warfare, I'm going to do the same for that other great British dystopia, George Orwell's Nineteen Eighty-Four. (Which is what passes for summer reading for me. Quotes taken from this version.)

War is much more important in Orwell's novel than in Huxley's: it's constantly referred to throughout the novel, and it turns out to be a crucial part of the Party's method for maintaining its control of Oceania. Assuming that there actually is a war, that is, and the whole thing isn't just fabricated for that very purpose. War is peace, after all.

But let's assume that Winston Smith's memories and experiences of war reflect some objective reality. Then there are two phases, the war of his youth, and the current, never-ending war, with the Revolution in between. Smith was probably born in 1945, presumably named after Churchill in that year of victory. There were some years of peace, and then a war in the mid-1950s, probably with the Soviet Union and its satellites. Britain seems to have been the only the country in Western Europe not conquered at this time, and absorbed into what was to become Eurasia. But it -- renamed Airstrip One -- became part of Oceania, along with the Americas, southern Africa, and Australasia. A third power, Eastasia, emerged after the end of the civil wars in China.
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The field marshal and the ghost rockets

20 December 2009 in 1930s, 1940s, After 1950, Cold War, Collective security, Nuclear, biological, chemical, Phantom airships, mystery aeroplanes, and other panics, Radio by Brett Holman | 9 comments

Field Marshal Jan Smuts, prime minister of South Africa, broadcast a speech on the BBC on 29 September 1946. He talked about the prospects for peace in the post-war world, a subject on which he could claim some authority, since he had helped unify Anglophones and Afrikaners after the Boer War, and was involved in the Paris peace conferences after both world wars. The speech was mainly about the United Nations (or as he quaintly called it, 'Uno') and the growing signs of friction between the former Allies on the Security Council. And we all know how that turned out. (Churchill had given his 'Iron Curtain' speech in March.) But one section is somewhat confusing for modern readers:

The United States may not long continue to enjoy the sole secret of the atom bomb, and this and other no less deadly weapons will at no distant date be in the possession of other nations also. The flying bombs, now seen nightly in the west, are indications of what is going on behind the curtain. It is highly doubtful whether any new weapons, or indeed any mechanical inventions, could ever be relied on to remove the danger of war. A peaceful world order could only be safely based on a new spirit and outlook widely spread and actively practised among the nations.

Flying bombs seen nightly in the west? What flying bombs?

Smuts was referring to reports which had been coming out of Sweden since May, and more recently from Denmark and Greece. Fast moving objects, sometimes with wings, sometimes without, were seen flashing across the sky. Some had flames shooting out the rear; others appeared to manoeuvre. Some of them crashed; residents of Malmö reported that windows were broken when a rocket 'exploded' over their town. They were sometimes even tracked on radar. A photo was even taken of one. They were seen by military personnel as well as by ordinary people. An example:

One of the mysterious bombs which in recent weeks have been passing across Sweden was seen last night by an officer of the Air Defence Department of the Defence Staff. He reports that the bomb looked like a fireball with a clear yellow flame passing at an estimated height of between 1,500 and 3,000 feet and at a considerable but quite measurable speed.

The term now given to these objects is ghost rockets.
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Guernica, mon amour

9 May 2009 in 1930s, 1940s, After 1950, Art, Cold War, Film, Nuclear, biological, chemical, Pictures, Videos by Brett Holman | No comments

[Cross-posted at Cliopatria.]

Guernica

A couple of years ago I outed myself as something of a philistine by admitting that I didn't 'get' Guernica, and thought that direct representations -- photographs -- of the ruined city were more powerful, more affecting than Picasso's masterpiece. My incomprehension generated a fair degree of discussion, which was useful, but it was having to teach Guernica this week in tutorials which finally helped me make my peace with it. More specifically, learning something of Picasso's process of design and composition, and the politics of his commission from the Republican government, led me to a better appreciation of its symbolism. Although it depicts -- or rather is inspired by -- the bombing of a city, it seems to be set inside as much as outside, somehow. The woman holding a lantern could be leaning out of a window, one who survived the destruction but suffers from what she has seen. Or she could be leaning in, perhaps symbolising the inaction of the international community after seeing what had happened to Guernica. Creative ambiguity, indeed.

But the other source the students looked at this week was the 1959 French-Japanese film Hiroshima mon amour. And while I've come to understand something of Guernica's power, figurative and non-literal though it may be, I now have a problem with Hiroshima mon amour. In the most simplistic terms, it is a love story between a French woman and a Japanese man, who have a doomed affair in Hiroshima, ca. 1957. But the romance is not the point. Marguerite Duras, author of the screenplay, later wrote that:

Nothing is 'given' at Hiroshima. Every gesture, every word, takes on an aura of meaning that transcends its literal meaning. And this is one of the principal goals of the film: to have done with the description of horror by horror, for that has been done by the Japanese themselves, but make this horror rise again from its ashes by incorporating it in a love that will necessarily be special and 'wonderful', one that will be more credible than if it had occurred any where else in the world a place that death had not preserved.

But if she wanted 'to have done with the description of horror by horror', then why did she and director Alain Resnais include -- at times harrowing -- documentary footage of the ruined city and the victims of the atomic bomb? (Starting from 7.53, continued in the second clip.)
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Total war and total peace

21 April 2009 in 1900s, 1930s, After 1950, Civil defence, Cold War, Film, Nuclear, biological, chemical, Space, Words by Brett Holman | 18 comments

[Cross-posted at Cliopatria.]

A random thought while sitting in a lecture today: if there is (or can be) such a thing as total war, does that imply that total peace is a meaningful concept?

Firstly, what is total war? One definition, drawn from the ubiquitous set of conference proceedings edited by Stig Förster et al (and more directly, from today's lecture notes), goes something like this. Total war consists of:

  1. total aims: e.g. the destruction of an enemy nation
  2. total methods: e.g. bombing cities
  3. total mobilisation: e.g. conscription for both the armed forces and for labour
  4. total control: e.g. censorship, dictatorship

More briefly, total war is the subordination of every other consideration (law, custom, morality, etc) to the prosecution of war. Total war is an ideal form of warfare, something which can be approached more or less closely, but which can never actually be fully attained. Well, hopefully not, because that would be bad.

So what would total peace look like? I don't think it can simply be the absence of total war; that's just peace generically. Total peace must be total in some sense.
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We'll meet again

29 January 2009 in After 1950, Cold War, Film, Nuclear, biological, chemical, Videos by Brett Holman | 8 comments

I watched Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb the other night for the umpteenth time, and I found myself wondering what the ending means. Vera Lynn singing her Second World War hit 'We'll meet again' over a montage of hydrogen bomb explosions (see above). I think the key has to be that -- at least according to popular mythology -- 'We'll meet again' was a favourite song for loved ones separated by war. Here are some thoughts I came up with (or across):

  • Contrast between WWII and WWIII. No one will be meeting again after this one is over.
  • Contrast between the Good War and the Cold War. Back then we fought to save the world from the Nazis, this time we'll be using Nazis to destroy it.
  • Yeah baby! The film has sexual metaphors and allusions all the way through it; the ending then depicts the orgasmic final embrace of the USA and USSR (i.e. what happens when couples 'meet again').

It's probably none of those, of course. Any ideas?

Gort of the interplanetary police force

1 January 2009 in 1920s, After 1950, Books, Cold War, Collective security, Film, International air force, Nuclear, biological, chemical, Space, Videos by Brett Holman | 6 comments

[Cross-posted at Revise and Dissent.]

I recently rewatched one of my favourite science fiction films, The Day the Earth Stood Still -- the 1951 original, of course, not the currently-screening remake (which I have yet to see, but tend to doubt that it will improve over the original in any area other than special effects). I can't remember when I last saw it, but it must have been before I started the PhD because otherwise the climactic scene would have leapt out out me and smacked me in the face, as it did the other day ... (Warning: spoilers ahead.)

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Getting away from it all

21 August 2008 in After 1950, Blogging and tweeting, Civil defence, Cold War, Links, Nuclear, biological, chemical by Brett Holman | 1 comment

It seems like forever since the last one, but it's only been two months. The (16th) Military History Carnival has been posted at the Osprey Blog. A few present-day items seem to have snuck in, but there's still plenty of history in there. My selection this time is about Burlington, at Underground, a rather beautiful photoblog about things underground. Burlington was a nuclear bunker in Wiltshire, built in the late 1950s to preserve continuity of government, should London fall to a knock-out blow nuclear strike. So there was room for the Prime Minister, some of the more important ministers and enough support staff to keep them and the country running for months. Underground links to another website with more information, including a fascinating internal phone directory from 1968, which shows just who was needed and who was not. The presence of 23 shipping officers and 12 for oil transport suggests that some semblance of national or even international economic transactions was anticipated. 50 fire control personnel, more than double those assigned to domestic and laundry duties, possibly seems excessive -- unless such time as they were actually needed, I suppose! On the other hand, a platoon of guards doesn't seem like much to defend the government with, but I guess it was more for internal security, and maybe there were more up top. 16 diplomatic staff -- maybe from the other 14 NATO members at the time, plus South Africa and Australia? And the biggest single contingent is for communications: a whopping 158 people. Which is a reminder of just how important it was to be able to talk to the outside world -- not much of a government if you can't tell anyone what to do -- and just how the technology has changed: you could probably run such a bunker with less than a tenth as many IT staff today ...

A strange game

7 August 2008 in After 1950, Australia, Cold War, Film, Games and simulations, Maps, Nuclear, biological, chemical, Pictures by Brett Holman | 14 comments

WarGames

This week is the 25th anniversary of the Australian cinematic release of WarGames, which is mainly significant because I missed the anniversary of the US release a few weeks ago! There were a few retrospectives floating about then, which focused on the movie's importance as an early popularisation of the hacking and phreaking subcultures, and its influence on adolescent computer geeks (which is admittedly where most of the fun derives from). Instead, I want to look at the wargames in WarGames, and the ideas about nuclear strategy which it imparted to its young Gen X audience. Well, I have no hard figures about any influence it might have had, but I was probably just about a teenager when I first saw it, and it certainly helped form my ideas about nuclear warfare. (Though it also inspired me to try coding a Joshua simulator on the C64 ... I didn't get very far!) Warning: spoilers follow.
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When two tribes go to war

14 January 2008 in After 1950, Civil defence, Cold War, Music, Nuclear, biological, chemical, Television, Videos by Brett Holman | 14 comments

Long-time reader, second-time commenter Ian Evans was in the Royal Observer Corps in York at the end of the 1950s. Here he describes how the ROC, in addition to retaining something like its planespotting functions during the Second World War, took on the job of measuring the Third:

When I joined the ROC (1958) it was still pretty much an RAF auxiliary, officers with handlebar moustaches and all. We spotted, reported and plotted aircraft in a very similar manner to our WW2 predecessors, though things had been simplified and speeded up, with special procedures for fast low flying aircraft (Rats). The nuclear reporting role was just being introduced, the observer posts were given “bunkers”, a small underground room with bunks and stores, airlock and reinforced tunnel to the surface, a nuclear burst recorder (a souped-up pinhole camera), a pressure recorder to measure the blast strength, a Geiger counter to measure the fallout, and individual dosimeters (we were rather cynical about these).

The operating theory was that there would be sufficient political warning for the observers to man their posts, they would wait for the noise to stop, surface, extract the recording paper from their recorders, read off the bearing and altitude of the burst and the peak overpressure. This would then be phoned in to Group HQ where we would plot the (hopefully several) bearings, and get the position of the detonation. Then, using the reported overpressures, plus sets of tables and nomograms we woud evaluate the bomb power and report back to…..anyone still alive. After that the posts would report radiation levels at regular intervals until…

Which is quite a terrifying job description (luckily they didn't have to do risk assessments in those days!)

But, of course, there was plenty of terror to go around. Long-time reader and commenter CK pointed out a 1982 BBC documentary called "Nuclear War: A Guide to Armageddon" (written and produced by Mick Jackson, director of Threads) about the effects of a nuclear war and how civilians should prepare for it.


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