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Christmas is not just a day or a frame of mind as Kris Kringle (Edmund Gwenn) imparts in Miracle on 34th Street (1947); Christmas is also a vehicle for national mythmaking as an idealising mirror for American cultural and political attitudes of a given moment. Via a case study on Hollywood Christmas films released between 1946 and 1961, A Very Cold War Christmas offers an examination of political pressures on Hollywood in the post-war period and the cultural ramifications of federal involvement in the motion picture industry. As the House Committee on Un-American Activities opened hearings in 1947 and the FBI gathered reports on potential communist subversion in Frank Capra's Christmas classic It's a Wonderful Life (1946), Hollywood executives began to bend to the socially conservative pressures of this post-war moment. Using Christmas films as the core of this investigation to identify and analyse changes within the genre as they relate to and reflect changes in the wider cultural and political moment exposes for film scholars, students, and non-specialists how these federal and external pressures on Hollywood moulded these holiday favourites throughout the 1950s and set the social standard for decades of Christmas releases.
Summary
Christmas is not just a day or a frame of mind as Kris Kringle (Edmund Gwenn) imparts in Miracle on 34th Street (1947); Christmas is also a vehicle for national mythmaking as an idealising mirror for American cultural and political attitudes of a given moment. Via a case study on Hollywood Christmas films released between 1946 and 1961, A Very Cold War Christmas offers an examination of political pressures on Hollywood in the post-war period and the cultural ramifications of federal involvement in the motion picture industry. As the House Committee on Un-American Activities opened hearings in 1947 and the FBI gathered reports on potential communist subversion in Frank Capra’s Christmas classic It’s a Wonderful Life (1946), Hollywood executives began to bend to the socially conservative pressures of this post-war moment. Using Christmas films as the core of this investigation to identify and analyse changes within the genre as they relate to and reflect changes in the wider cultural and political moment exposes for film scholars, students, and non-specialists how these federal and external pressures on Hollywood moulded these holiday favourites throughout the 1950s and set the social standard for decades of Christmas releases.
