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Full Description
During the Second World War hundreds of Hollywood filmmakers under the command of the legendary director John Ford enlisted in the OSS to produce training, reconnaissance and propaganda films. This wartime bond continued into the post-war period, when a number of studios produced films advocating the creation of a permanent peacetime successor to the OSS: what became the Central Intelligence Agency. By the 1960s however, Hollywood's increasingly irreverent attitude towards the CIA reflected a growing public anxiety about excessive US government secrecy.
In Secrecy's Shadow provides the first comprehensive history of the birth and development of Hollywood's relationship with American intelligence. It takes an interdisciplinary approach, synthesizing literatures and methodologies from diplomatic history, film studies and cultural theory, and it presents new perspectives on a number of major filmmakers including Darryl F. Zanuck, Alfred Hitchcock and John Ford.
Based on research conducted in over 20 archival repositories across the United States and UK, In Secrecy's Shadow explores the revolution in the relationship between Hollywood and the secret state, from unwavering trust and cooperation to extreme scepticism and paranoia, and demonstrates the debilitating effects of secrecy upon public trust in government and the stability of national memory.
Contents
Chapter 1: The Facts of War: Cinematic Intelligence and the Office of Strategic Services
John Ford's Navy
Weaponising Cinema
Hollywood's Intelligence Archive
Wild Bill Donovan and the Origins of the OSS Field Photographic Unit
December 7th: Scripting an Intelligence Failure
Zanuck, Ford and the Filming of the North African Invasion
The Authority of Cinema at the Nuremberg Trials
Chapter 2: 'What is Past is Prologue': Hollywood's History of the OSS and the Establishment of the CIA
Hollywood Enlists in General Donovan's Campaign for a Permanent Peacetime Intelligence Agency
O.S.S. (1946)
Cloak and Dagger (1946)
13 Rue Madeleine (1947)
Chapter 3: Quiet Americans: The CIA and Hollywood in the Early Cold War
Cherishing Anonymity: Hollywood and the CIA in the Early Cold War
Dangerous Liaisons: The CIA in Hollywood
Joseph Mankiewicz's The Quiet American (1958)
Figaro Entertainment's Unmade CIA Semi-Documentary TV Series
Chapter 4: The Death of the 'Big Lie' and the Emergance of Postmodern Incredulity in the Spy Cinema of the 1960s
Our Man in Havana and the Origins of Cold War Satire
North by Northwest (1959)
The Man from U.N.C.L.E. and TV Spy Satire in the 1960s
Parody Turns Political in The President's Analyst (1967)
Chapter 5: Secrecy, Conspiracy, Cinema and the CIA in the 1970s
Scorpio (1973) and CIA Public Relations
The Spook Who Sat by the Door (1973)
Watergate, The Parallax View (1974) and the Emergence of the Conspiracy Thriller
Three Days of the Condor (1975)
Emile de Antonio and Philip Agee: The Radical CIA Film that Never Was
Fighting Back: The Birth of CIA Public Relations
