Hollywood's CIA -- the CIA's Hollywood

Tricia Jenkins, The CIA in Hollywood: How the Agency Shapes Film and Television (Austin: University of Texas Press, 2012).

from the publisher:

"What’s your impression of the CIA? A bumbling agency that can’t protect its own spies? A rogue organization prone to covert operations and assassinations? Or a dedicated public service that advances the interests of the United States? Astute TV and movie viewers may have noticed that the CIA’s image in popular media has spanned this entire range, with a decided shift to more positive portrayals in recent years. But what very few people know is that the Central Intelligence Agency has been actively engaged in shaping the content of film and television, especially since it established an entertainment industry liaison program in the mid-1990s.

"The CIA in Hollywood offers the first full-scale investigation of the relationship between the Agency and the film and television industries. Tricia Jenkins draws on numerous interviews with the CIA’s public affairs staff, operations officers, and historians, as well as with Hollywood technical consultants, producers, and screenwriters who have worked with the Agency, to uncover the nature of the CIA’s role in Hollywood. In particular, she delves into the Agency’s and its officers’ involvement in the production of The Agency, In the Company of Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the State, Syriana, The Good Shepherd, and more. Her research reveals the significant influence that the CIA now wields in Hollywood and raises important and troubling questions about the ethics and legality of a government agency using popular media to manipulate its public image."

See also

Oliver Boyd-Barrett, David Herrera, and James A. Baumann, Hollywood and the CIA: Cinema, Defense, and Subversion (New York: Routledge, 2011).

 David L. Robb, Operation Hollywood: How the Pentagon Shapes and Censors Movies (Prometheus Books, 2004).

. . .  there is a fairly extensive scholarly literature on the more general subject of film and government.

Deconstruct This

Brian Cogan, ed., Deconstructing South Park: Critical Examinations of Animated Transgression (Lanham, MD: Rowman & Littlefield, 2011).

from the publisher:

***

"Deconstructing South Park: Critical Examinations of Animated Transgression is an edited collection by Brian Cogan that looks at the long and controversial run of one of the most subversive programs on television. South Park, while denounced by many as simply scatological, is actually one of the most nuanced and thoughtful programs on television. The contributors to South Park reveal that, through the lens of four foul-mouthed nine year olds, Trey Parker and Matt Stone have created one of the most astute forms of social and political commentary in television history.

"Deconstructing South Park, itself the most ambitious deconstruction of popular culture to date, analyzes how South Park is not only entertainment, but a commentary on American culture that tackles controversial issues far beyond the depth of most television. Specifically, the medium of animated sitcom allows the show's creators to contribute to cultural conversations regarding disability studies, religion, sexuality, celebrity, and more. If South Park deconstructs American culture, then Cogan and his contributors deconstruct the deconstructionists and reveal South Park in all its hilarious and often contradictory complexity."

***

Roots of new media

Sheila C. Murphy, How Television Invented New Media (Rutgers University Press, 2011).

from the publisher:

Television is a global industry, a medium of representation, an architectural component of space, and a nearly universal frame of reference for viewers. Yet it is also an abstraction and an often misunderstood science whose critical influence on the development, history, and diffusion of new media has been both minimized and overlooked. How Television Invented New Media adjusts the picture of television culturally while providing a corrective history of new media studies itself.

Personal computers, video game systems, even iPods and the Internet built upon and borrowed from television to become viable forms. The earliest personal computers, disguised as video games using TV sets as monitors, provided a case study for television's key role in the emergence of digital interactive devices. Sheila C. Murphy analyzes how specific technologies emerge and how representations, from South Park to Dr. Horrible's Sing-Along-Blog, mine the history of television just as they converge with new methods of the making and circulation of images. Past and failed attempts to link television to computers and the Web also indicate how services like Hulu or Netflix On-Demand can give rise to a new era for entertainment and program viewing online. In these concrete ways, television's role in new and emerging media is solidified and finally recognized.

Invasion of the Mind Snatchers

Eric Burns, Invasion of the Mind Snatchers: Television's Conquest of America in the Fifties (Philadelphia: Temple University Press, 2010).

from the press:

When the first television was demonstrated in 1927, a headline in The New York Times read, "Like a Photo Come to Life." It was a momentous occasion. But the power of television wasn't fully harnessed until the 1950s, when the medium was, as Eric Burns writes, "At its most preoccupying, its most life-altering."

In Invasion of the Mind Snatchers, Emmy-award winning broadcaster Eric Burns chronicles the influence of television on the baby boomer generation. Spellbound by Howdy Doody and The Ed Sullivan Show, those children often acted out their favorite programs, purchased the merchandise promoted by performers, and were fascinated by the personalities they saw on screen, often emulating their behavior. It was the first generation raised by TV, and Burns looks at both the promise of broadcasting as espoused by the inventors and how that promise was both redefined and lost by the corporations who helped spread this revolutionary technology.

How to Make a Citizen

Anna McCarthy, The Citizen Machine: Governing by Television in 1950s America (New York: The New Press, 2010).

from the press:

The Citizen Machine is the untold political history of television’s formative era. Historian Anna McCarthy goes behind the scenes of early television programming, revealing that producers, sponsors, and scriptwriters had far more in mind than simply entertaining (and selling products). Long before the age of PBS, leaders from business, philanthropy, and social reform movements as well as public intellectuals were all obsessively concerned with TV’s potential to mold the right kind of citizen.

After World War II, inspired by the perceived threats of Soviet communism, class war, and racial violence, members of what was then known as “the Establishment” were drawn together by a shared conviction that television broadcasting could be a useful tool for governing. The men of Du Pont, the AFL-CIO, the Advertising Council, the Ford Foundation, the Fund for the Republic, and other organizations interested in shaping (according to American philosopher Mortimer Adler) “the ideas that should be in every citizen’s mind,” turned to TV as a tool for reaching those people they thought of as the masses.

Based on years of path-breaking archival work, The Citizen Machine sheds new light on the place of television in the postwar American political landscape. At a time when TV broadcasting is in a state of crisis, and when a new political movement for media reform has ascended the political stage, here is a vital new history of the ideas and assumptions that have profoundly shaped not only television, but our political culture itself.

Anna McCarthy is an associate professor in the department of Cinema Studies at New York University. She is the co-editor of the noted journal Social Text, as well as the author of Ambient Television.

Now we know better, of course. It's the Internet that's going to save democracy.