miércoles, 16 de agosto de 2017

ATOMIC BLONDE

STYLISH AND SEXY BRUTALITY PLUS CORPSES AND THE CENTRAL INTELLIGENCE AGENCY (CIA) WINS! THIS IS WHY THE AMERICAN FILMMAKING IS THE MOST ENTERTAINING OF THE WORLD!

ATOMIC BLONDE (2017) is the kind of movie that teaches real values to the young: 
A) The Communists and Communism are threats,
B) The Communists deserve to be killed,
C) The Communist system is crumbling permanently,
D) The U.S. always wins,
E) The CIA is the smartest and most effective intelligence agency of the world,
F) The U.S. must have trained people capable of going to the enemy territory and extract "packages."
G) Shooting and fighting properly is an asset,
I) To depend on personal resources is important,
J) A personal network is valuable.
K) The British are not as smart as they think.

To find a movie that offers practical knowledge of the current international relations is refreshing! Among so many pacifist manifestos and discourses of understanding toward the leftists, ATOMIC BLOND is a lesson of equanimity. Right now, when Communist Venezuela is going to be liberated, ATOMIC BLONDE activates the right mindset to face what is coming.


It is obvious that a totalitarian system like the one developed in Venezuela by the Communists have been supported by powerful international players that have strong ties to different capitalist countries and that must have infiltrated the U.S. Government. Luckily, the new U.S. President, Donald Trump, has wisdom enough as to recognize the peril that is growing in the American backyard. ATOMIC BLOND points out to these traitors that behind the curtains of power intend to enslave countries for-profit. This is not the American style!

After recovering the oil fields from Venezuela to the cause of Freedom, we will see important changes in the region. Venezuela is only the first one of many colossal interventions in Latin America! The time to fight Russia (or the Soviet Union) in lands so far away is over! ATOMIC BLONDE states a new beginning in the international arena. The military might of the U.S. will be imposed on all the nefarious Latin American countries that have been infiltrated by the Communist and are being ruled by them (which means ALL of them: Bolivia, Ecuador, Argentina, Chile, Perú, México, Guatemala, Honduras, Brasil, Colombia, etc.)

The American new generations need more movies like ATOMIC BLOND! Movies that teach practical values to survive in a world where the Communists exists...

viernes, 12 de mayo de 2017

DOES A COURSE LIKE "LITERATURE WITHOUT BORDERS: NARRATIVES FROM THE "COUNTRIES OF CONCERN"" SABOTAGE "WE WILL MAKE AMERICA GREAT AGAIN"?

OF COURSE! SYMPATHIZING WITH THE ENEMY UNDERMINES THE STRATEGY THAT HAS MADE AMERICA GREAT! OR WERE THE "NATIVE AMERICANS" MORE IMPORTANT THAN THE FOUNDING FATHERS?

It is evident that DONALD TRUMP, President of the United States, is surrounded by foes inside America. These enemies, disguised a "humanitarians" preach "tolerance" and "understanding of the 'other'" spreading evident DEFEATISIM among those attending university. 

While Mr. TRUMP intends to "MAKE AMERICA GREAT AGAIN", this "scholars" seem to ignore the facts that helped America become what it is. Definitely, TO COMPROMISE never has helped the U.S. The Vietnam War, a winnable war, was lost because the political battle was lost at home!


If Mr. TRUMP wants to "MAKE AMERICA GREAT AGAIN", and we believe that he wants, he must pay careful attention to the political war that is in development inside the U.S. right now. His enemies have entrenched themselves in those positions that allows them to exert ideological influence, the academia among them.

One clear example of this seems to be the course Literature without Borders: Narratives from the "Countries of Concern" taught online by professor Jeffrey Middents at American University, College of Arts & Sciences (Summer 2017):

http://www.american.edu/cas/faculty/middents.cfm

https://www.academia.edu/32972556/Literature_without_Borders_Narratives_from_the_Countries_of_Concern_

The syllabus begins by quoting from "PEN America's open letter to Mr. Trump, February 21, 2017" which is a political text that condemns one of the measures taken by Mr. TRUMP to secure the American territory:

https://pen.org/open-letter-immigration-ban/

After that, the course is introduced:

" (...). In listing seven nations, called “countries of concern” by the Department of State, whose citizens were banned from entering the United States, the government offered a blanket assessment of the potential ideologies determined by nation of origin. (...).  Such proclamations make blanket statements about “foreign nationals” and their habits, their thoughts and their lives. How can we dig beyond such overarching assumptions proffered by the news and government officials to explore other cultures, the perspectives of the “other”?"

So, what is stated is that the government officials (especially Mr. TRUMP) and the news have made "overarching assumptions"... and that the objective of the course is to become acquainted with the viewpoints of the "countries of concern." So, this course is propaganda for those "countries of concerns" that do not need to invest in ideological warfare due to the fact that the American students can be indoctrinated in American terrritory through an American university which name is "American University." Isn't "American University" an ideal name to make look trustworthy the indoctrination programs created to support the "countries of concern"? The timing of this course is fantastic! And the name of the course "Literature without Borders" suggests that America doesn't have frontiers to watch!

The syllabus continues:

"This course will resist monolithic claims about “hostile nations” and explore how to search for and interpret contemporary literature (and, where available, films) from those countries, despite the fact that we do not speak the original languages spoken in these countries."

The way the subject is faced is extremely interesting because what it is stating is that the course doesn`t accept the authority of the President and other government officials. If the couse wanted, it could study the characteristics of the contemporary literature of those "hostile nations" which would be useful in the battle of ideas. But this is not the stated goal of the course. The text clearly says that "this course will resist monolithic claims about "hostile nations"." So, the real objective is to undermine the authority of the President and government officials because "explore how to search for and interpret contemporary literature (and where available, films) from those countries"  are actions that must be develop even when we want to learn from those "hostile nations" in order to fight them better. Learning how the enemy thinks is important. Knowing how to look for that information is a basic skill of an information warrior. Thus, the skill is not  a privilege enjoyed by those who "resist monolithic claims about "hostile nations"" at all. But the text pretends that the only reason to look for information about the enemy literature and cinema is when we distrust the news and government official, especially Mr. TRUMP, and when we look to empathize with the enemy viewpoint. These two underlying assumptions make this one a subversive course. "TO MAKE AMERICA GREAT AGAIN" would be a bit difficult when this mind poison is poured into the consciousnesses of the American students. 

Another indicator of the tendency of the syllabus is a quote selected from a text written by the scholar Tamara Falicov:

·(...) Tamara Falicov argues that movies produced in Argentina under the aegis of Roger Corman's production companies during the 1980s negatively impacted the Argentine film industry. (...). She concludes that such coproductions support how the economic model of "dependency theory" might be applied to "how First World elits exploit poorer nations in their exhaustive search for ever cheaper sources of labor, raw materials and lax governmental regulations abroad" (36). Falicov's goal is to bring attention to the unequal relationship between otherwise ignored exploitation filmmaking designed for the U.S. home video market and the more art-oriented "national cinema" of Argentina. The article provides a good model for how to approach exploitation.

With so many books about filmmaking, the syllabus selects a text that links the American capital abroad with exploitation. While Mr. TRUMP intends to MAKE AMERICA GREAT AGAIN! and strenghen the capitalist production at home, the future workforce is fertilized with thoughts of exploitation... Obviously, to choose such a text has the same subversive inspiration than the whole course.

America is at war and Mr. TRUMP must take the initiative to win. Mr. TRUMP has lots of enemies in the academic world:

http://www.providencejournal.com/news/20160627/trump-claims-state-department-gave-552-million-to-company-after-it-hired-bill-clinton

http://www.baltimoresun.com/news/maryland/bs-md-laureate-faces-challenges-20161008-story.html

History shows WHAT HAS MADE AMERICA GREAT: it is not defeatism, it is not compromising, it is not a lot of "humanists" empathizing with the the American foes.

George Washington and the Indians:

Thomas Jefferson, Founding Father of Indian Removal. By Mark Hirsch
http://westgatehouse.com/art263.html

Communism's Present-Day Stranglehold on America, Universities
https://theamericanrevenant.com/2016/11/27/communisms-present-day-stranglehold-on-america-universities/

The Techniques of Communism: INVADING EDUCATION. By Louis F. Budenz
https://www.biblebelievers.org.au/educatio.htm

Communist Defector Speaks Out on America's Marxist Future
http://www.aim.org/aim-column/communist-defector-speaks-out-on-americas-marxist-future/
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sábado, 6 de mayo de 2017

"NEW TAIWANESE CINEMA IN FOCUS: MOVING WITHIN AND BEYOND THE FRAME" BY FLANNERY WILSON. BOOK REVIEW.


FASCINATING READING! GREAT ADVICE TO BE SUCCESSFUL AT THE BOX OFFICE... IF YOUR PRODUCTION IS SUPPORTED BY THE AMERICAN FILM INDUSTRY! KINDHEARTED WRITING FOR HUMANE LEARNING ABOUT TAIWANESE CINEMA!

"NEW TAIWANESE CINEMA IN FOCUS: MOVING WITHIN ND BEYOND THE FRAME." Cover. Author: FLANNERY WILSON. Published by EDINBURGH UNIVERSITY PRESS.  200 Pages.
Book Review by Perucine.blogspot.com Board of Film:

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sábado, 29 de abril de 2017

WHY ISN'T HOLLYWOOD ATTACKING COMMUNIST VENEZUELA?!

STRANGELY, HOLLYWOOD IS NOT PRODUCING FEATURE FILMS PROMOTING AN AMERICAN MILITARY INVASION TO VENEZUELA EVEN THOUGH THE ATTACK SHOULD HAPPEN THIS SAME YEAR! IS HOLLYWOOD AT THE HANDS OF MORONIC COMMUNISTS?
El señor Dictador Comunista de Venezuela, Presidente Nicolás Maduro, cortésmente ofrece su cabeza a los Estados Unidos de Norteamèrica al saberse masacrado militarmente ante un eventual ataque estadounidense. Esta hermosa ilustración muestra la clase de proyectos fílmicos que debería estar desarrollando Hollywood para que América recupere el petróleo estadounidense que se ubica en el terreno que los comunistas denominan "de Venezuela". ¿Es que Hollywood ha olvidado la finalidad para la cual existe? ¿O todos los humildes trabajadores de Hollywood son unos comunistas? ¿Acaso se les paga para sabotear a los EE.UU.? ¡Ya es hora de que el Departamento de Defensa, la Comunidad de Espionaje, Hollywood y las corporaciones y millonarios estadounidenses se acuerden de que el capitalismo demanda iniciativa!/ This is the kind of artwork that Hollywood should be producing instead of wasting time and money with romantic comedies! Should perucine.blogspot.com go to the US and show the producers how to make propaganda? Do what you must do! Are you moronic communists or what!?

Before 911 (September eleven, 2001), Hollywood had a great amount of war movies. "PEARL HARBOR" was exhibited well in advance of the attack and months after its perpetration. "THE EXORCIST" was released on December 23, 1973, three months after the coup d'état in Chile (September 11, 1973) as a reminder to all the Latin American Catholics of the consequences of messing with America. The communist Venezuelan government is doomed and it should be destroyed this year 2017 but we can't see movies produced by Hollywood intended to soften the consciousness of the Venezuelan and Latin American middle class! What's wrong with Hollywood? What's wrong with the Pentagon? What's wrong with the rich American people? Don't they want the American oil reserves located under the so called "Venezuela territory"? Have they forgotten the awesome recent American past?

The only amazing production announced is "DONALD TRUMP LIBERATES VENEZUELA!" but, according to our information, this extraordinary movie would be released on the internet if ever finished! (Its pace of development is kind of slow these days...) Why are the American balls shrinking? At a time when thinking seriously about depopulating Latin America is a need, it is great that DONALD TRUMP is the President of the United States! Wars can be won with words, too. But Nicolás Maduro and the Venezuelan communist talk too much and other means of war are required! Anyway, why isn't Hollywood delivering the right movies right now? They have lots of employees (aka: "talent", "directors", "filmmakers") Does Hollywood expect our director (Jorge Luis Villacorta Santamato, head of perucine.blogspot.com) to go the US and direct himself a good war movie where it is possible to see how the communist are erradicated from Venezuela? Our director would gladly do so for the right price and because he seems to have something that is missing in the American film industry: working balls. At least, Mr. Trump have them and use them.

Wake up Hollywood! Do what you are supposed to do! Sell the war against Venezuela! You are a Pentangon Propaganda Machine! And the Pentagon is about business! Have you forgotten the reason why you exist? Wake up, wake up, wake up Hollywood!
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viernes, 28 de abril de 2017

ACADEMY FILM SCHOLARS PROGRAM 2017


Shawn Guthrie


4:20 PM (4 hours ago)


to me


Dear Mr. Villacorta:

Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants.  Out of 68 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals.  After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two.  Regrettably, your proposal was not selected.

A press release announcing the two newest Academy Film Scholars will be distributed in the near future and I will make sure a copy is e-mailed to you.

The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed.  They anticipate that a number of the proposals will come to fruition.  They also wanted you to know that your re-application to the program in the future would be welcome.  The online application form will be available once again in late summer or early fall.

Best of luck in all your future endeavors.

Sincerely,
Shawn Guthrie
Manager, Grants and Student Academy Awards

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Academy of Motion Picture Arts & Sciences



Jan 31

to me


Thank you for your submission. Your application has been submitted successfully, and the tracking number is 28143. You will be receiving more information on the status of your application shortly. For your records, here is a copy of the contents of your application.

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Applicant Information

Prefix



Mr.


First Name



Jorge


Middle Name or Initial



Luis


Last Name



Villacorta


Suffix





Street Address



Los Halcones 563. Urb. Sta. Cecilia. Bellavista.


City



Callao


State


Select N/A if this field is not applicable to you.



N/A


Zip Code



07006


Country


If you do not see your country listed select "Other" from the drop-down and enter your country in the Street Address field above.



Peru


Phone



14514334


Mobile Phone



938150618


E-mail Address





Co-Applicant Information








Prefix





First Name






Middle Name






Last Name






Suffix





Address






City






State





Postal Code






Phone






Mobile Phone






E-mail






Last Name



Villacorta

Proposal Information

Project Title



Hollywood And The U.S. Intelligence Community: Typical Images.



Project Statement Summary


(One or two paragraphs summarizing the project)



The images that the American mainstream movies show of the U.S. Intelligence Community (IC) constitute a visual mythology in the making. Due to the immense importance of the activities developed by the IC, its portrayal mobilize emotions that can be as intense as a religious passion. While an institution like the Catholic Church has had hundreds of years to develop its visual discourse, the young IC is developing its visual ideology right now helped by the powerful influence of the movies. Identifying the most typical of these images is necessary to begin the study of this novel iconography.







Project Type


(i.e. book, multi media presentation, interactive dvd, curatorial project, website)



Book


College/University Affiliation (if any)


(List for both if there are two applicants)







Projected Project Completion Date



06/11/2018


Anticipated Use of Grant Funds


(e.g., research travel, time off, book photos, etc.)



Books, time off, research travel, acquisition of materials (books, DVDs), book photos.

Attachments

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2. Click the Browse button to search for the file you wish to upload. Click the file you want to attach then click the Open button.
3. Click the Upload button to attach the file to this application.
4. Then return to the Title drop down to repeat Steps 1-3 for the next document.





Project Statement


(up to five pages)





Bibliography


(up to three pages)





C.V.




PROJECT STATEMENT
Title: Hollywood And The U.S. Intelligence Community: Typical Images.
Author: Jorge Luis Villacorta Santamato
a. Description of the Project.
The movies are entertainment and propaganda because they contribute to spread the ideals of freedom around the world. The U.S. Intelligence Community (IC) was created on December 4, 1981. This project intends to create a visual history of how the member organizations of the IC have been depicted in the American mainstream movies: their headquarters, offices, tools, employees, activities and foes. Even though some explanations will be given as text to understand the context, this book pretends to be a visual reference for further study.
b. Objective and Methodology.
b.1. Objective: To select typical images about the Intelligence Community (IC) from the most representative American motion pictures since the creation of the IC.
b.2.Methodology:
b.1. Through the analysis of the literature created by scholars, the categories used by the members of the American film industry, the practices of the member organizations of the U.S. Intelligence Community (IC), the tastes of the audiences, and pertinent movies, one main concept will be created: “typical image of the IC in an American mainstream movie”.
b.2. This concept will be transformed into a very conscious operational defintion that will guide the selection of movies, still images from those movies, and the textual descriptions of both of them, movies and still images.
b.3. The visual material selected will be organized and presented in such a didactic way that the content of the concept “typical image of the IC in an American mainstream movie” will be easily grasped by the readers.
c. Academic or Professional Context.
While there are many studies about the members of the U.S. Intelligence Community (IC) and their relations to the American film industry, those scholar works emphasize historical descriptions and the interpretation of documents, and film narratives. For example, excellent studies like those of Lawrence H. Suid (“Guts and Glory: The Making of the Military Image in Film”, “Sailing on the Silver Screen: Hollywood and the U.S. Navy”, “Stars and Stripes on Screen: A Comprenhensive Guide To Portrayals of American Military on Film”) do not focus exclusively on the agency that belongs to the IC (Office of Naval Intelligence, Intelligence and Security Command) but on the parent agency (United States Navy, United States Army). Also, even though these books are illustrated, do not give primary importance to the visual aspect on the intended period of our study. The same happens with books like “The FBI and the Movies: A History of the Bureau on Screen and Behind the Scenes on Hollywood” by Bob Herzberg, which is a historical acount from the 1930s to the 1960s or “J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood’s Cold War” by John Sbardellah which focuses on the post-war period 1942-1958 and provides a new consideration of the Red Scare. Research about the Central Intelligence Agency and Hollywood explore their relation at different levels but the visual aspect is outside the interests of investigation. Among these works we have “The CIA in Hollywood: How the Agency Shapes Film and Television” by Tricia Jenkins; “Hollywood and the CIA: Cinema, Defense and Subversion” by Oliver Boyd Barret, David Herrera, and James A. Baumann; “In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1939-1979” by Simon Willmetts; and “Spooked: How the CIA Manipulates the Media and Hoodwinks Hollywood” by Nicholas Schou. There are other studies related to the subject that also have the tendency to describe procedures and events without giving priority to the images: “Operation Hollywood: How the Pentagon Shapes and Censors the Movies” by David L. Robb; “Hearts and Mines: The US Empire’s Culture Industry” by Tanner Mirrlees; or “The Cultural Cold War: The CIA and the World of Arts and Letters”. All these studies (and many more) as interesting as they are follow a totally different approach to the subject than my project. Even those studies that should consider the importance of the emotional power of images choose literary explanations and exposition of data. For example the following three book, that can be a reference to identify movies that show enemies of the IC, favor the printed word instead than the image: “Reel Bad Arabs: How Hollywood Vilifies a People” and “Guilty: Hollywood’s Verdict on Arabs after 9/11” by Jack G. Shaheen; and “”Evil” Arabs in American Popular Film: Orientalist Fear” by Tim Jon Semmerling. So, it is evident that my proposal is original.
d. Film industry subjects or ideas in the project that have been underrepresented in the canon of film scholarship to date.
Contemporary film scholars seem to forget that the movies are an audiovisual medium and that the images shown and the sounds heard are socially built and consumed. The pleasure and excitement that these narratives generate depend on complex combinations of social factors that condition their potential to create satisfaction. Looking for “typical images” of the U.S. Intelligence Community in Hollywood movies we will understand what is not considered “typical,” why the image would classify as “typical” due to its components and in what context. This way we will have to challenge our own acceptance of what we watch and, at some point, become conscious again of the fact that the movie imagery is an illusion that we share willingly or unknowingly. This heighten consciousness is a key component in this project. It is important at a time when an image pretends to be a fact and not a conventional representation. To understand this phenomenon we should try to answer questions like: what was the typical XVI century representation of The Devil by the Catholic Church? The images of the Moon landings were believable because they were televised? Why a few people perceived the Moon landings as fake after a few decades? These questions force us to examine the conditions of production and reception of the messages and to see them as human products, more as suggestions than as facts.
e. The project’s significance in its field of study.
In the areas of the visual arts and the sociology of film this project will allow us to understand the characteristic of the visual ideology created by the American mainstream movies in relation to the U.S. Intelligence Community (IC). While an institution like the Catholic Church has had centuries to define visually its leaders, its militants and heroes, its foes and friends, its spiritual or corporeal battles, and design the look of its buildings, offices, and headquarters, the IC is only three decades old but it is supported by an extraordinary propaganda machine: the cinema. Bertrand Russell stated that Hollywood was creating a new religion. So, the project I propose will help to perceive as a whole the visual mythology that this institution, the IC, is creating with the support of the film industry. We will look at it with the distance of researchers who are interested in this work in progress.
f. How my professional experience is relevant to the project.
As the curator of The Leonidas Zegarra Museum and the personal film critic of the Peruvian anti-communist filmmaker Leonidas Zegarra I am very interested in understanding the processes that transform objects and images into icons. Also, as a professor who teaches research courses for communications students at the undergraduate level I pay attention to the clear delimitation of the subjects of investigation and to appropriate research procedures. Having performed in front of the camera as an actor in the movie “María y los niños pobres” (2010) and behind it as assistant director in the same movie (and editor), I am aware of the ingenuity and technicality that the creation of movie images demand. Loving comic books and drawing and inking them from time to time for fun or in order to participate in contests is a helpful combination when it is time to see and analyze images.
g. The project’s significance to my own professional development.
As a museum curator this study might provide me with new strategies to contribute to the reputation of The Leonidas Zegarra Museum. Mr. Zegarra wants his museum to become a center of dissemination of anti-communist ideology around Peru. So, learning how the institutions that promote and protect freedom present themselves would be very productive.
As a scholar interested in communication studies and the history of art this project would give me with information relevant in both areas. The publishing of this book would be an invaluable sample of my research interests, specially when applying for a job in an American university. Right now, I teach in a Peruvian university but, I would like to have the experience of teaching in an American university someday.
As an artist who expresses himself in visual and audiovisual formats the analysis of the subject would help me to be more creative or, at least, to take novel risks. A thorough understanding of what is being made at this time allows innovation. I want to self-publish a graphic novel in the U.S. based on the U.S. Intelligence Community and this research project would be an optimum source of information for the comic book project.
h. Provide a timetable for completing the project.
April – June 2017: Funds arrive.
June – July 2017: Study of the information available and delimitation of the subject.
August 2017: Creation and test of the operational definition.
September – December 2017: Selection of the movies and still images.
January 2018 – March 2018: Organization and description of the material (writing of texts needed).
March 2018 – April 2018: Beginning of the publishing process. The book must be published on May or June 2018.
i. Any grants, residencies or additional resources already available to me. Description of my project and how I intend to use the Academy grant.
I do not have additional resources available to me right now.
I intend to use the Academy grant to finance the free time and obtain the resources that I need to develop the project. I would teach a mininal number of hours. Books, magazines, DVDs and other sources of information has costs that must be paid. Publishing costs will be covered by the Academy grant, too.
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Select Bibliography

Title: Hollywood and the U.S. Intelligence Community: Typical Images

Author: Jorge Luis Villacorta Santamato
Alford, Matthew (2010), Reel Power: Hollywood Cinema And American Supremacy, London: Pluto Press.
Bagdikian, Ben H. (2004), The New Media Monopoly, Boston: Beacon Press.
Birkenstein, Jeff, Anna Froula and Karen Randell (2010), Reframing 9/11: Film, Popular Culture And The “War On Terror”, New York: Continuum.
Boyd-Barrett, Oliver, David Herrera and James A. Baumann (2011), Hollywood And The CIA: Cinema, Defense and Subversion, New York: Routledge.
Boggs, Carl and Leslie Thomas Pollard (2006), The Hollywood War Machine: U.S. Militarism And Popular Culture, Boulder, CO: Paradigm Publishers.
Bogle, Lori Lyn (2004), The Pentagon´s Battle For The American Mind: The Early Cold War, Texas: College Station, TX: A&M University Press.
Cull, Nicholas J. (2008), The Cold War And The United States Information Agency: American Propaganda And Public Diplomacy, 1945 – 1989, Cambridge: Cambridge University Press.
Dowbenko, Uri (2004), Hookwinked: Watching Movies With Eyes Wide Open, Pray, MT: Conspiracy Digest.
Doron, Meir and Joseph Gelman (2011), Confidential: The Life Of Secret Spy Turned Hollywood Tycoon Arnon Milchan, New York: Geffen Books.
Fulbright, James William (1970), The Pentagon Propaganda Machine, New York: Liveright.
Graham, Robbie (2015), Silver Screen Saucers: Sorting Fact From Fantasy In Hollywood’s UFO Movies, Hove, United Kingdom: White Crow Books.
Herzberg, Bob (2007), The FBI and the Movies: A History of the Bureau on Screen and Behind the Scenes on Hollywood, Jefferson, N.C.: McFarland & Co.
Hoffman II, Michael A. (2001), Secret Societies And Psychological Warfare, Coeur d’Alene, ID: Independent History And Research.
Jenkins, Tricia Anne (2012), The CIA In Hollywood: How The Agency Shapes Film And Television, Austin, TX: University of Texas Press.
Leab, Daniel J. (2007), Orwell Subverted: The CIA And The Filming Of Animal Farm, University Park, PA: Pennsylvania State University Press.
Mirrlees, Tanner. (2016), Harts and Mines: The US Empire’s Culture Industry, Vancouver: UBC Press.
Osborne, Bob, (1990), Propaganda Tool: The Hollywood War Movie And Its Usurpation By TV, Pennsylvania: U.S. Army War College
Osgood, Kenneth (2006), Total Cold War: Eisenhower´s Secret Propaganda Battle At Home And Abroad, Lawrence, KS: University Press of Kansas.
Richelson T., Jeffrey (1999), The U.S. Intelligence Community, Boulder CO: Westview Press.
Robb, David L. (2004), Operation Hollywood: How The Pentagon Shapes And Censors The Movies, New York: Prometheus Books.
Saunders, Frances Stonor (2001), The Cultural Cold War: The CIA And The Worlds Of Arts And Letters, New York: The New Press.
Sbardellatti, John (2012), J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood’s Cold War, Ithaca, NY: Cornell University Press.
Schou, Nicholas (2003), Spooking The News: How The CIA Manipulates The Media And Hoodwinks Hollywood, Unknown place of publishing: Hot Books.
Segrave, Kerry (1997), American Films Abroad: Hollywood´s Domination Of The World´s Movie Screens From The 1890s To The Present, Jefferson, NC: Mcfarland & Co Inc Pub.
Semmerling, Tim Jon, “Evil” Arabs in American Popular Film: Orientalist Fear, Austin, TX: University of Texas Press.
Shaw, Tony (2007), Hollywood´s Cold War, Amherst, MA: University of Massachusetts Press.
Shaheen, Jack G. (2008), Guilty: Hollywood’s Verdict on Arabs after 9/11, Northampton, MA: Olive Branch Press.
Shaheen, Jack G. (2009), Reel Bad Arabs: How Hollywood Vilifies a People, Northampton, MA: Olive Branch Press.
Simpson, Christopher ed. (1996), Science Of Coercion: Communication Research And Psychological Warfare, 1945-1960, Oxford: Oxford University Press.
Stahl, Roger (2009), Militainment, Inc.: War, Media And Popular Culture, New York: Routledge.
Stone, Travis (2015), A Time For Deception: False-Flags, Technology Suppresion, And Deep CIA Secrets, Unknown: CreateSpace Independent Publishing Platform.
Suid, Lawrence H. (2002), Guts And Glory: The Making Of The American Military Image In Film,Lexington, KY: The University Press of Kentucky.
Suid, Lawrence H. (1996), Sailing On The Silver Screen: Hollywood And The U.S. Navy, Annapolis, MD: U.S. Naval Institute Press.
Suid, Lawrence H. (2005), Stars and Stripes on Screen: A Comprenhensive Guide To Portrayals of American Military on Film, Lanham, MD: The Scarecrow Press.
Trumpbour, John (2002), Selling Hollywood To The World: U.S. And European Struggles For Mastery Of The Global Film Industry, 1920 – 1950, Cambridge: Cambridge University Press.
United States, Joint Chiefs of Staff (2010), JP 3-13.2 Psychological Operations, Washington, DC: Joint Chiefs of Staff.
Valantin, Jean-Michel (2005),Hollywood, The Pentagon And Washington: The Movies And National Security From World War II To The Present Day, :Anthem Press.
Willmets, Simon (2016), In Secrecy’s Shadow: The OSS And CIA In Hollywood Cinema 1941-1979, Edinburgh, UK: Edinburgh University Press.
Wood, Judy (2009), Where Did The Towers Go?, Los Angeles, CA: Feral House.
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