¡ASÍ QUE LAS PELÍCULAS DE HOLLYWOOD SON ARMAS DE LA GUERRA PSICOLÓGICA ESTADOUNIDENSE!
SO, THE MOVIES FROM HOLLYWOOD ARE WEAPONS OF THE AMERICAN PSYCHOLOGICAL WARFARE!
"Scope: An Online Journal of
Film and Television Studies
Issue 23
June 2012
Intelligence Activity in Hollywood: Remembering the “Agency” in CIA
Tricia Jenkins, Texas Christian University, USA, and Matthew Alford, Texas Christian University, USA
Though
it has existed since 1947, the Central Intelligence Agency (CIA) did not
establish an entertainment industry liaison program until the mid-1990s,
leading many to assume the Agency was inactive in Hollywood during the
Cold War. When the CIA finally began working openly
with filmmakers, it claimed its job was to reactively improve
public understanding of the Agency as part of its more open remit, [1] and
the CIA has often stressed its ineffectiveness at censoring or amending
scripts to
emphasize further its passive role. [2] Moreover, the CIA has
always claimed that its entertainment liaison program seeks merely to
aid recruitment and correct misperceptions about Agency practice. [3]
These claims about the CIA‟s role in Hollywood have received scant attention
from the press. With the exception of providing some historical context, academic
literature barely touches on the relationship.
[4] This is hardly surprising.
The CIA is a secretive organization, even though ironically it possesses
a public affairs office. However, a serious interrogation of the CIA‟s role in
the entertainment industries reveals a more nuanced picture than the one painted
above. By drawing on the now better-documented
history of early Cold War activity, we can form a clearer sense of how the
present system functions. that follows is therefore not a detailed
chronological history of the CIA-Hollywood relationship, but rather the best
model we can determine of how it works in the post-Cold War era. Using documents, “insider” testimony, and historical
precedent, we highlight the uniqueness of the CIA‟s relationship with hollywood
during the post-Cold War period and draw parallels with its older, more covert
strategies.
More specifically, this piece demonstrates that the Agency worked covertly
with Hollywood during the Cold War to make American democratic and capitalist
ideologies more palatable to international and otherwise skeptical
viewers. During the post-Cold War and
post-9/11 eras, the CIA eventually turned its attention away from manipulating
the country‟s image and instead worked more openly with the American media to
improve its reputation. This shift
largely resulted from the CIA‟s need to reassure the public that it was still
necessary and competent, despite the decline of the Soviet Union and criticism
of the Agency for failing to prevent the 9/11 attacks.
page 1
(...)"
+EN+HOLLYWOOD.+Fotograf%C3%ADa+por+Mandy+Naglich.jpg)
La doctora TRICIA JENKINS autora de "LA AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CIA) EN HOLLYWOOD" (THE CIA IN HOLLYWOOD). Fotografía por: Mandy Naglich.
Título: PODER FÍLMICO: EL CINE DE HOLLYWOOD Y LA SUPREMACÍA ESTADOUNIDENSE (REEL POWER: HOLLYWOOD CINEMA AND AMERICAN SUPREMACY). Autor: MATTHEW ALFORD.
El doctor MATTHEW ALFORD, experto en propaganda, se prepara a rodar un filme en estos días.
Título: "ARGO: CÓMO LA AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE Y HOLLYWOOD REALIZARON EL RESCATE MÁS AUDAZ DE LA HISTORIA" (ARGO: HOW THE CIA AND HOLLYWOOD PULLED OFF THE MOST AUDACIOUS RESCUE IN HISTORY). Autores: ANTONIO MENDEZ y MATT BAGLIO.
http://leonidaszegarra.blogspot.com/2012/02/la-virgen-de-copacabana-en-ejutv.html
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