The first postwar "Imagine if..." dramatizations of the Russians conquering and enslaving America, Is This Tomorrow? was published in 1947 by the Catechetical Guild Educational Society of St. Paul, Minnesota. At ten cents a copy, this fifty-two page, full-color comic book was a smashing success. It enjoyed several reprintings, and was used as a giveaway, presumably distributed to church groups. Some four million copies were printed.Feverish Commie-takeover scenarios emerged in the mass media in the years to come, including Life magazine's "The Reds Have a Standard Plan for Taking over a New Country" (1948), the M-G-M cartoon "Make Mine Freedom" (1948), Columbia Pictures' 1952 film Invasion USA, the 1962 TV special Red Nightmare ("presented by the Department of Defense"), and such comic books as "The Sneak Attack" in the first issue of Atomic War (1952). But none of them could quite match Is This Tomorrow? for pure holy terror.
For more materials of this sort, see my 1950s site.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
