Skip to main content

New evidence for the surprisingly significant propaganda role of the CIA and the DOD in the screen entertainment industry

This article reassesses the relationships of the Central Intelligence Agency and Department of Defense with the American entertainment industry. Both governmental institutions present their relationships as modest in scale, benign in nature, passive, and concerned with historical and technical accuracy rather than politics. The limited extant commentary reflects this reassuring assessment. However, we build on a patchy reassessment begun at the turn of the 21st century, using a significant new set of documents acquired through the Freedom of Information Act. We identify three key facets of the state-entertainment relationship that are under-emphasized or absent from the existing commentary and historical record: 1. The withholding of available data from the public; 2. The scale of the work; and 3. The level of politicization. As such, the article emphasizes a need to pay closer attention to the deliberate propaganda role played by state agencies in promoting the US national security state through entertainment media in western societies.

Part 2 - The Withholding of Available Data from the Public

The largest library archive about the DOD’s influence on entertainment is held at Georgetown University and curated by Lawrence Suid. The authors and several colleagues of different ages, genders, and levels of academic experience requested access to these files. Suid rejected each request. In his clearest refusal to share material, Suid explained that, ‘I trust you will understand the difficulty I would have in opening my files while I am still using them’,1 though he has not generated any new analysis since 2005.

In 2004, Robb highlighted some egregious examples of the DOD exerting political influence over Hollywood scripts. Despite his extensive discussion of the archived documentation, Suid’s books have made no direct reference to the politically-motivated changes on numerous films, including: Clear and Present Danger (e.g. removal of racist language by the President); Tomorrow Never Dies (e.g. removal of a joke about the US losing the Vietnam War); Contact (e.g. changing a scene that makes the military appear paranoid); Thirteen Days (e.g. an attempt to convince the producers that the Joint Chiefs had behaved responsibly during the Cuban Missile Crisis); Windtalkers (e.g. a scene depicting a historically accurate Marine war crime was removed) – as discussed below – as well as Tears of the Sun (the military prevented the depiction of ‘nasty conspiracies’); The Green Berets (e.g. references to the illegal US bombing of Laos were removed); Rules of Engagement (e.g. the lead character is ‘toned down’); Black Hawk Down (e.g. a scene depicting the military machine gunning wild boar is removed); and Goldeneye (the nationality of a duped American Admiral is changed), as discussed in Alford and Secker’s 2017 book. Although Suid gives good coverage of film releases that have been denied cooperation, he chooses not to comment whatsoever on productions that were terminated due to the DOD’s refusal to cooperate, including Countermeasures, Top Gun II, and Fields of Fire.

Direct approaches to the DOD’s ELO have also proven to be of dubious utility. Strub claimed ‘I stopped keeping paper records long ago. I don’t maintain electronic ones, either’ and that a Freedom of Information Act (FOIA) request could only disclose, at best, a ‘brief entry in an incomplete data base’. He suggested we contact Suid, which only serves to highlight how the presence of Suid has helped insulate the DOD from the FOIA (Strub, 2014).

Actually, although the ‘incomplete data base’ is mostly lacking information about the degree of political influence and script changes brought to bear by the DOD, it does contain some relevant new data and it helped clarify the scale of DOD support to entertainment products. Despite this, the overwhelming majority of the new data concerns what the military provided to the filmmakers in terms of access to people, locations and vehicles and does not record what the Pentagon asked for in return. Similarly, our request to the US Navy for copies of script notes on recently-supported productions resulted, after well over a year’s delay, in a response saying that they do not keep copies of script notes (2017). We appealed and provided them with a copy of their own notes on Lone Survivor, released to another requester, but no further information has so far been forthcoming.

The available CIA records regarding their involvement in and influence on entertainment products are even more scant. While hundreds of pages of emails and memos regarding Zero Dark Thirty were released in response to a FOIA lawsuit, the equivalent records regarding other CIA-supported productions have never been released. Secker and others have requested files on Argo and Top Chef – which unlike Zero Dark Thirty were even granted permission to film at CIA headquarters – but the CIA’s responses say they cannot find even a single document.

The same problem applies to the Chase Brandon era (1996–2006) in the CIA’s liaison office. According to his successor, Paul Barry, when Brandon left the Agency in late 2006 he took all his papers with him, and so ‘nothing remains from the past’ (quoted in Jenkins, 2009). Tricia Jenkins’ work suggests two alternative reactions to this hole in the CIA’s records: (1) that it does not make much difference because, as producer Michael Beckner put it, ‘everything he did with the CIA was done on a handshake and a phone call’ (Jenkins, 2016: 69) and so Brandon’s paper-trail was probably minimal anyway; and (2) that it might matter enormously because extensive memos show that Chase Brandon was responsible for essentially ghost-writing the film The Recruit and so, presumably, he used this written method for a considerable body of material. The 2016 edition of Jenkins’ book The CIA in Hollywood cites documents from an unspecified court case proving how:

[Brandon’s] role far exceeded the one that even an aggressive studio executive or producer would play in the development of the film … one can’t help but wonder why [writer Roger] Towne and [producer Jeff] Apple allowed Brandon to have so much creative control over the original script unless it was always understood to be a CIA written film disguised as an independent production. (p. 87)

Jenkins concludes that ‘it is clear that Brandon was far more involved in some films’ actual development than anyone outside of the industry previously imagined’ (p. 87).

Overall, then, institutional secrecy makes it impossible to assess the true scale and nature of the political influence wielded on Hollywood by these two institutions, especially the CIA. We only know that in some well-documented instances it is fundamental to the politics of these entertainment products (we discuss some examples below). The CIA seems to have taken its popular refrains like ‘the secret of our success is the secret of our success’ and applied them to its work on entertainment productions. In the wake of Robb’s criticism, the DOD further limited public access to source materials that reveal script changes by replacing the twentieth century style of paper trail with more circumspect and anodyne diary-style activities reports. This lack of transparency could presumably be quickly reversed, were it not for a mindset that does not want the public to know.

Source, links, references:


[1] [3] [4] [5] [6] [7]

Read also:

Comments

Popular posts from this blog

Trump's tariffs: A unique opportunity for BRICS and the Global South to fully escape from dollar tyranny

globinfo freexchange   Does Trump know what he is doing? Well, yes and no. While many interpretate his latest move, mostly as an attempt to halt China, his main goal is to give the final blow to the neoliberal order on behalf of his oligarchs .  From this perspective, Trump's unprecedented decision to decide mass tariffs against almost everyone, was an act of strategic hit against the global free market neoliberalism, with the financial capital  at its top. And that's because this dominant-for-almost-half-century system, identifies restrictions and protectionism as major threats against its own existence. In other words, Trump acted as a commander of the capitalist faction that wants to beat its neoliberal rivals and put itself in charge, through a new transformation of capitalism into a 21st century corporate feudalism.   Concerning China, Trump's move may have some negative impact on its economy for a while, since China has chosen to partially play by the rule...

Deranged euroclowns want to revive a nazi-origin project!

globinfo freexchange   Behind the ridiculously cartoonish latest spot of the EU that gives "instructions" to the European citizens on how to deal with a major crisis during the first hours, lies a secret desire.    The deranged euroclowns of the crypto-fascist extreme center , are trying to build up a condition of consent inside the minds of Europeans, which is related to their biggest wet dream: an autonomous imperialist European army. The idea was not born suddenly because of Trump's hostile attitude against his own allies. From the early 50s, pan-European networks of neo-Nazis were created. In May 1951, the European Social Movement (MSE) was founded in Malmö, Sweden. Essentially, it was about projecting the ideology of the German SRP on a pan-European level. The MSE, which would remain active until the 1980s, proclaimed the need for Europe to emancipate itself from the divisive tutelage of the USA and the USSR, called for the defense of the “European race” against th...

Neoliberalism Needs To Go

Second Thought  

Netanyahu BRAGS About Genocide - And Our Media COVERS IT UP

Owen Jones  

Google Imports Ex Israeli Spies, The Genocide Resumes, Cruel Britannia

by Nate Bear   Part 3 - Cruel Britannia   The UK is moving ahead with large welfare cuts for disabled people, including those with cancer. On TV the other day, the UK’s health secretary Wes Streeting said that people with cancer should be in work, not at home resting. Alongside this, the government has said that to cut youth employment it will push young people to join the army. This, of course, is in the context of a massive expenditure on military weapons in the face of the Russian bogeyman.   What’s happening in the UK under a nominally centre-left Labour government is a good reminder that there is never a lesser evil if your leaders are neoliberals. Balancing the books on the backs of the poorest and most vulnerable in society is the north star of all neoliberals, whether they call themselves centrists, left wing or right wing. Cruelty is the policy and the point.    Yet the last few years have also been a good reminder that everything is a choice. Cov...

Trump Speeds Up FALL OF THE WEST With Tariff War

Owen Jones     Related:   Trump's tariffs: A unique opportunity for BRICS and the Global South to fully escape from dollar tyranny

UN rapporteur Francesca Albanese: World is watching a live genocide in Gaza and doing nothing

The New Arab   As Israel’s war on Gaza enters its 19th month, UN Special Rapporteur Francesca Albanese is sounding the alarm louder than ever: the world is watching a live genocide — and doing nothing to stop it. In an exclusive interview with The New Arab , Albanese describes the devastation in Gaza as unparalleled since WWII. Entire neighbourhoods lie in ruins, tens of thousands are dead, and 91% of Gaza’s population is at risk of malnutrition. Over 60,000 children show signs of cognitive impairment due to starvation.  “This is not just war. This is genocide in real time,” she says. “What we are seeing now is the destruction of a people who refuse to leave.” Despite UN mandates and international law, Albanese says the global system is paralysed, and governments, corporations, and even universities are complicit. “If Palestine were a crime scene, it would bear all our fingerprints.”

US Official EXPOSES Truth About Gaza From The Inside

Owen Jones  

Google Imports Ex Israeli Spies, The Genocide Resumes, Cruel Britannia

by Nate Bear   Part 2 - The genocide resumes   The day before the Wiz deal, Israel resumed its genocide of Gaza with an unhinged bloodthirsty rampage, the deadliest twenty-four hours in the last nearly eighteen months of genocide. A high bar had been set, and it was cleared. They attacked at night, itself an act of utter cowardice and sadism, and slaughtered hundreds as they slept in tents. In tents. Close to one hundred babies and young children were killed. The overall death toll exceeds 400 and is rising. As expected, there is not a flicker of condemnation from world leaders, many of whom are arming Israel with the weapons and intelligence it needs for genocide. The British air force spent the ceasefire period gathering intelligence on Palestinians and feeding it to Israel so they could restart the mass murder efficiently.  The genocide is the end of the west. It destroys any claim to moral superiority over Russia, China, Iran or any of the officially designated bad g...