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Dutch literature --- anno 1950-1959 --- 839.3 "19" --- 839.3 "19" Nederlandse literatuur--20e eeuw. Periode 1900-1999 --- Nederlandse literatuur--20e eeuw. Periode 1900-1999 --- 20th century --- Exhibitions

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Largely shut out of American theaters since the 1920s, foreign films such as Open City, Bicycle Thief, Rashomon, The Seventh Seal, Breathless, La Dolce Vita and L'Avventura played after World War II in a growing number of art houses around the country and created a small but influential art film market devoted to the acquisition, distribution, and exhibition of foreign-language and English-language films produced abroad. Nurtured by successive waves of imports from Italy, Great Britain, France, Sweden, Japan, and the Soviet Bloc, the renaissance was kick-started by independent distributors working out of New York; by the 1960s, however, the market had been subsumed by Hollywood. From Roberto Rossellini's Open City in 1946 to Bernardo Bertolucci's Last Tango in Paris in 1973, Tino Balio tracks the critical reception in the press of such filmmakers as François Truffaut, Jean-Luc Godard, Federico Fellini, Michelangelo Antonioni, Tony Richardson, Ingmar Bergman, Akira Kurosawa, Luis Buñuel, Satyajit Ray, and Milos Forman. Their releases paled in comparison to Hollywood fare at the box office, but their impact on American film culture was enormous. The reception accorded to art house cinema attacked motion picture censorship, promoted the director as auteur, and celebrated film as an international art. Championing the cause was the new "cinephile" generation, which was mostly made up of college students under thirty. The fashion for foreign films depended in part on their frankness about sex. When Hollywood abolished the Production Code in the late 1960s, American-made films began to treat adult themes with maturity and candor. In this new environment, foreign films lost their cachet and the art film market went into decline.

Film --- anno 1940-1949 --- anno 1950-1959 --- anno 1960-1969 --- anno 1970-1979 --- United States --- Foreign films --- Films, Foreign --- Motion pictures, Foreign --- Motion pictures --- United States of America

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By emphasising the role of nuclear issues, After Hiroshima, published in 2010, provides an original history of American policy in Asia between the dropping of the atomic bombs on Japan and the escalation of the Vietnam War. Drawing on a wide range of documentary evidence, Matthew Jones charts the development of American nuclear strategy and the foreign policy problems it raised, as the United States both confronted China and attempted to win the friendship of an Asia emerging from colonial domination. In underlining American perceptions that Asian peoples saw the possible repeat use of nuclear weapons as a manifestation of Western attitudes of 'white superiority', he offers new insights into the links between racial sensitivities and the conduct of US policy, and a fresh interpretation of the transition in American strategy from massive retaliation to flexible response in the era spanned by the Korean and Vietnam Wars.

History of Asia --- History of North America --- Polemology --- anno 1940-1949 --- anno 1960-1969 --- anno 1950-1959 --- Nuclear weapons --- Government policy --- United States --- Foreign relations --- Asia --- Race relations --- Political aspects --- 1945-1989 --- Political aspects. --- Arts and Humanities --- History

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Social change --- anno 1950-1959 --- Nederland --- Netherlands --- Europe --- Civilization --- Dutch influences --- 930.85 --- #BIBC:boekadm --- #A0303A --- 939 Nederlandse geschiedenis --- Cultuurgeschiedenis. Kultuurgeschiedenis --- cultuurgeschiedenis --- geschiedenis --- 930.85 Cultuurgeschiedenis. Kultuurgeschiedenis --- cultuurgeschiedenis. --- geschiedenis. --- Cultuurgeschiedenis. --- Geschiedenis. --- Netherlands - Civilization --- Europe - Civilization - Dutch influences

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Pour analyser la guerre d'Indochine, à la fois réputée « trop chère » et pervertie par le trafic des piastres, Hugues Tertrais a privilégié le point de vue financier. Il ouvre ainsi une fenêtre à la fois nécessaire et originale qui éclaire différemment le conflit et permet d'en repenser le déroulement. Car si l'argent est le « nerf de la guerre », l'occasion des profits indirects. En s'appuyant sur les archives économiques et financières, l'auteur montre comment le conflit, au départ de nature coloniale, a été rattrapé par son coût. En effet, à défaut de pousser à la négociation avec l'adversaire, dans un contexte marqué par les fortes tensions de la guerre froide, les contraintes financières plaidaient pour un montage combinant les États associés et l'aide américaine, et un désengagement progressif. Le financement de la guerre d'Indochine a donc été un élément déterminant de son évolution. L'évaluation du coût de la guerre conduit ainsi à une évaluation de la guerre elle-même, à travers la nature de ses dépenses, les modalités de leur financement et la gestion des flux financiers qui en découlent, dans laquelle le ministère des Finances joue un rôle croissant : un an avant Dien Bien Phu, la dévaluation de la piastre indiquera le sens que la France donne à ses ultimes ambitions en Asie. La guerre d'Indochine est alors « à vendre » et les Etats-Unis apparaissent comme le seul acquéreur possible. La suite n'est certes alors pas encore écrite mais on sait que si la France - pertes et profits confondus - sortira de l'aventure sans trop de dommages, il n'en sera pas de même des pays d'Indochine, certes indépendants mais balkanisés et dans une paix plus que provisoire.

History of Asia --- History of France --- anno 1940-1949 --- anno 1950-1959 --- Indochine --- Indochinese War, 1946-1954 --- Regions & Countries - Asia & the Middle East --- History & Archaeology --- Southeast Asia --- Economic aspects --- Indochina War, 1946-1954 --- guerre coloniale --- guerre d’Indochine --- piastre