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Soviet films ridiculed the American enemy through gender discourse. The films created images of the U.S. enemy using cinematic illustrations of American masculinity and femininity. The representations also varied with race, class, and political beliefs. USSR used sex to describe the American enemy to the audiences and validate the superiority of the Soviet lifestyle. Hence, no similar cinematic figures of U.S. femininity and masculinity existed. The Soviet’s perception of the world inferred the class principle’s precedence over the national one highlighting battles and contradictions within capitalist communities. The preferences created a demand for symbolic representations of bad and good Americans resembling archetypal images of the Soviet people. Cinema was the main threat of a cultural Cold War between America and the USSR.
The postwar conflicts between the United States and USSR were a significant aspect of the world because of culture’s great role. Cinema was no exception as it combined narration, visual images, and sounds as essential forms of propaganda. Hence, they served as an essential tool in ideological confrontation. Thus, the target of laugh was the American enemy because of cultural and ideological fights with USSR. Theatre was used as a permanent negotiation with the U.S. counterpart, and any deviations could create serious consequences for a filmmaker. Authorities controlled film with support from state parties to reinforce implementation. A moral decline constituted a major cause of the Soviet propaganda in the Western world, leading to the creation of images to illustrate an aberrant gender order in U.S. The original Cold War disunion of the world into two created a Manichean depiction of the globe where each superpower was considered a major enemy of the other.
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