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By David Cochran

B-movies, crime novels, technology fiction- all of those varieties of mass media got here into their very own within the Fifties. pushed aside by way of critics as dehumanizing to either writer and viewers, those genres unflinchingly uncovered the depths of yank lifestyles at a time while it was once no longer politically right to take action. David Cochran info how, on the peak of the chilly conflict, ten writers and filmmakers challenged such social pieties because the superiority of American democracy, the benevolence of loose firm, and the sanctity of the suburban family members. Rod Serling's The Twilight sector comparable tales of sufferers of significant, faceless bureaucratic powers. Jim Thompson's The Grifters portrayed the ravages of capitalism on these on the backside of the social ladder. Patricia Highsmith's The gifted Mr. Ripley featured an amoral con guy who infiltrated the privileged type and wreaked havoc as soon as there. All of those artists helped to set the level for the Sixties counterculture's problem to the status quo. In doing so, they blurred the strains among "high" and "low" paintings.

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There were few direct links between the works of the ten representative artists, and certainly they would not have seen themselves as part of a common cultural avant-garde. Rather their art should be seen in terms of what Raymond Williams has called "structures of feeling," the gap between the abstract, fixed social forms that are used to understand society and the actual lived experience of individuals. While necessary for understanding social relations, such abstractions still allow much of human experience to slip through the explanatory cracks.

Richard Condon and the Paranoid Surreal Style in American Politics 175 10. Another Dimension: Rod Serling, Consensus Liberalism, and The Twilight Zone 194 Conclusion: The Emancipation of Dissonance 215 Notes 223 Bibliography 261 Index 275 Page ix ACKNOWLEDGMENTS This work has been a very long time in the making, and I have piled up many debts in the process. My family has proven endlessly supportive of my studies and writing. The constant encouragement of my mother and late father, Bette Cochran Reeves and Don Cochran, sustained me.

Another Dimension: Rod Serling, Consensus Liberalism, and The Twilight Zone 194 Conclusion: The Emancipation of Dissonance 215 Notes 223 Bibliography 261 Index 275 Page ix ACKNOWLEDGMENTS This work has been a very long time in the making, and I have piled up many debts in the process. My family has proven endlessly supportive of my studies and writing. The constant encouragement of my mother and late father, Bette Cochran Reeves and Don Cochran, sustained me. My stepfather, Earl Reeves, has alternately supported and challenged my conclusions with his vast knowledge of Cold War-era political culture, while my children, Jessica, Ian, and Rachel, have been my personal cheering section and were always willing to play hooky or watch The Twilight Zone with me.

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