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Studies of films of the 1980s have noted a tendency towards “ideological conglomeration”—the presence of multiple contradictory ideological registers. This article argues that 80s films’ “ideological conglomeration” is made legible and coherent through Michael Rothberg’s (2009,  Multidirectional memory: Remembering the Holocaust in the age of decolonization . Stanford University Press) concept of multidirectional memory. It thus proceeds to apply a theoretical framework of multidirectional memory to the analysis of two “New Cold War” films—Sylvester Stallone’s  Rocky IV  (1985) and Taylor Hackford’s  White Nights  (1985). Reading  Rocky IV  through a lens of multidirectional memory allows us to perceive links between the “New Cold War,” U.S. racializing logics, and the racializing schemas of the Nazi regime. In  White Nights  an analytic of multidirectional memory foregrounds the connections between Little Rock, Arkansas, the 1968 Democratic National Convention, and the displacement of the associated discourses of state brutality, racism, and accountability onto the Soviet Union. The article concludes that multidirectional memory offers a generative theoretical framework for the study of the cinema of the “New Cold War” that illuminates how films link U.S. Cold War and racial logics to secure the hegemony of white masculinity.

White masculinity in the “New Cold War”: reading Rocky IV and White Nights as multidirectional memories