American culture has been one of the most controversial exports of the United States: greeted with enthusiasm by some, with hostility by others. Yet, few societies escape its influence. However, not all changes should be interpreted simply as "Americanization." The shaping of the postwar world has been much more complex than this term implies as is shown in this volume that explores the links between Americanization and modernity in Western Europe and Japan. In considering the impact of products and images ranging from movies and music to fashion and architecture, a multi-disciplinary group of contributors asks how American culture has been employed internationally in the articulation of postwar identities -- be they national or subnational, socially sanctioned or socially transgressive. Their essays on France, Italy, Germany and Japan move beyond the simple paradigms of colonization and democratic modernization, yet retain a sensitivity to the asymmetries in the postwar power relationships between these countries and the United States. An extensive introduction historically locates changing interpretations of American influences abroad and suggests the problems and promises of "Americanization" as an analytical tool. Its comparative focus and interdisciplinary scope will appeal to a wide range of students and scholars of cold war and post-cold war history.

American culture has been one of the most controversial exports of the United States: greeted with enthusiasm by some, with hostility by others. Yet, few societies escape its influence. However, not all changes should be interpreted simply as "Americanization." The shaping of the postwar world has been much more complex than this term implies as is shown in this volume that explores the links between Americanization and modernity in Western Europe and Japan. In considering the impact of products and images ranging from movies and music to fashion and architecture, a multi-disciplinary group of contributors asks how American culture has been employed internationally in the articulation of postwar identities -- be they national or subnational, socially sanctioned or socially transgressive. Their essays on France, Italy, Germany and Japan move beyond the simple paradigms of colonization and democratic modernization, yet retain a sensitivity to the asymmetries in the postwar power relationships between these countries and the United States. An extensive introduction historically locates changing interpretations of American influences abroad and suggests the problems and promises of "Americanization" as an analytical tool. Its comparative focus and interdisciplinary scope will appeal to a wide range of students and scholars of cold war and post-cold war history.

In the two decades after World War II, Germans on both sides of the iron curtain fought vehemently over American cultural imports. Uta G. Poiger traces how westerns, jeans, jazz, rock 'n' roll, and stars like Marlon Brando or Elvis Presley reached adolescents in both Germanies, who eagerly adopted the new styles. Poiger reveals that East and West German authorities deployed gender and racial norms to contain Americanized youth cultures in their own territories and to carry on the ideological Cold War battle with each other. Poiger's lively account is based on an impressive array of sources, ranging from films, newspapers, and contemporary sociological studies, to German and U.S. archival materials.
"Jazz, Rock, and Rebels" examines diverging responses to American culture in East and West Germany by linking these to changes in social science research, political cultures, state institutions, and international alliance systems. In the first two decades of the Cold War, consumer culture became a way to delineate the boundaries between East and West. This pathbreaking study, the first comparative cultural history of the two Germanies, sheds new light on the legacy of Weimar and National Socialism, on gender and race relations in Europe, and on Americanization and the Cold War.

During the 1920s and 1930s, in cities from Beijing to Bombay, Tokyo to Berlin, Johannesburg to New York, the Modern Girl made her sometimes flashy, always fashionable appearance in city streets and cafes, in films, advertisements, and illustrated magazines. Modern Girls wore sexy clothes and high heels; they applied lipstick and other cosmetics. Dressed in provocative attire and in hot pursuit of romantic love, Modern Girls appeared on the surface to disregard the prescribed roles of dutiful daughter, wife, and mother. Contemporaries debated whether the Modern Girl was looking for sexual, economic, or political emancipation, or whether she was little more than an image, a hollow product of the emerging global commodity culture. The contributors to this collection track the Modern Girl as she emerged as a global phenomenon in the interwar period.

Scholars of history, women's studies, literature, and cultural studies follow the Modern Girl around the world, analyzing her manifestations in Germany, Australia, China, Japan, France, India, the United States, Russia, South Africa, and Zimbabwe. Along the way, they demonstrate how the economic structures and cultural flows that shaped a particular form of modern femininity crossed national and imperial boundaries. In so doing, they highlight the gendered dynamics of interwar processes of racial formation, showing how images and ideas of the Modern Girl were used to shore up or critique nationalist and imperial agendas. A mix of collaborative and individually authored chapters, the volume concludes with commentaries by Kathy Peiss, Miriam Silverberg, and Timothy Burke.

"Contributors" Davarian L. Baldwin, Tani E. Barlow, Timothy Burke, Liz Conor, Madeleine Yue Dong, Anne E. Gorsuch, Ruri Ito, Kathy Peiss, Uta G. Poiger, Priti Ramamurthy, Mary Louise Roberts, Barbara Sato, Miriam Silverberg, Lynn M. Thomas, Alys Eve Weinbaum

During the 1920s and 1930s, in cities from Beijing to Bombay, Tokyo to Berlin, Johannesburg to New York, the Modern Girl made her sometimes flashy, always fashionable appearance in city streets and cafes, in films, advertisements, and illustrated magazines. Modern Girls wore sexy clothes and high heels; they applied lipstick and other cosmetics. Dressed in provocative attire and in hot pursuit of romantic love, Modern Girls appeared on the surface to disregard the prescribed roles of dutiful daughter, wife, and mother. Contemporaries debated whether the Modern Girl was looking for sexual, economic, or political emancipation, or whether she was little more than an image, a hollow product of the emerging global commodity culture. The contributors to this collection track the Modern Girl as she emerged as a global phenomenon in the interwar period.

Scholars of history, women's studies, literature, and cultural studies follow the Modern Girl around the world, analyzing her manifestations in Germany, Australia, China, Japan, France, India, the United States, Russia, South Africa, and Zimbabwe. Along the way, they demonstrate how the economic structures and cultural flows that shaped a particular form of modern femininity crossed national and imperial boundaries. In so doing, they highlight the gendered dynamics of interwar processes of racial formation, showing how images and ideas of the Modern Girl were used to shore up or critique nationalist and imperial agendas. A mix of collaborative and individually authored chapters, the volume concludes with commentaries by Kathy Peiss, Miriam Silverberg, and Timothy Burke.

"Contributors" Davarian L. Baldwin, Tani E. Barlow, Timothy Burke, Liz Conor, Madeleine Yue Dong, Anne E. Gorsuch, Ruri Ito, Kathy Peiss, Uta G. Poiger, Priti Ramamurthy, Mary Louise Roberts, Barbara Sato, Miriam Silverberg, Lynn M. Thomas, Alys Eve Weinbaum