Is this old thread - of which I read only the title - newly relevant?
Here is a link to a PDF of an article I (in a manner of speaking, i.e., speaking in the manner of one who has adopted another's "
persona" - pardon the
not entirely irrelevant cinematic allusion - and merged her own into an other "I") wrote as both a substantive analysis of a moment in film history (the moment when High Noon and other westerns began to reflect the impact of the Cold War on American culture) as well as a coded message to users of FU (much in the fashion that Paul McCartney sent a coded message via the song
Helter Skelter; I hasten to add, I am no McCartney, and I surely hope that you, dear reader, are no Manson):
www.t.studythepast.com/reelhistory/readings/high%20noon.pdf
Rosetta stone / secret decoder key ring:
--
This = Bay of Pigs;
-- Cultural change from High Noon to Tin Star/Warlock/Firecreek parallels FU "cultural" change from implosion of Prada Denim (= firm imposition of cultural norm against outing) to the rise of the eesh / Evil Cary regime of outing.
Thus FU, today, stands poised in a posture of "growing discomfort," much as the United States did in the early 60s:
With the growing realization that containing communism had made the United States appear increasingly like its enemy, with domestic surveillance, purges, and disinformation generating a growing credibility gap, the moral certitude of the center (and the certain threat posed by these groups) faded into increasing ambiguity and ultimately dissolved. This ambiguity, emergent in the 1950s and apparent to very close reading in High Noon and The Tin Star, becomes clearer by 1959 (Warlock) and loses all semblance of subtlety by 1968 (Firecreek).
The articulation of these various elements — vital center, government, youth, and gender — reveal in these films a growing discomfort with American cultural norms, ambiguity about moral action, and increasing doubt that moral action is possible within the American community.
Youth questions the authority of cultural icons like Richard Nixon/eesh and John Wayne/Cary, and culturally sanctioned projects like the Vietnam war/outing.
And finally - Hail, Satan! - all hell breaks loose.