As many already know the issue featuring my article in The American Journal of Economics and Sociology was just recently published. The entire issue deals with CIA and Pentagon influence in Hollywood and includes articles by Tom Secker, Aaron Franz, Tarzie, Matthew Alford, and many more. I am extremely proud of not only my piece but of the entire issue and everyone that contributed. A big thank you to all the writers who joined me in this amazing endeavor.
Due to copyright restrictions you will have to buy the issue if you want to read it. Unfortunately I have already given out the limited number of print copies that I had. If you would like a copy (signed even) then please email me and I will see what I can do about getting more issues. You can also email Wiley Customer Service (firstname.lastname@example.org) and inquire about purchasing a single issue. Below is the abstract from my piece.
The Historical Roots of CIA-Hollywood Propaganda – Pearse Redmond
The ability to use movies that tell persuasive stories is a powerful tool, particularly if it is consciously used to legitimize war, assassination, and illegal activities and to undermine the core principles of democracy. The U.S. Central Intelligence Agency (CIA) and the U.S. military have made use of that tool for almost a century, starting with the War Department’s quiet support for the movie Birth of a Nation in 1915 and continuing for a century, including such recent CIA-supported products as Homeland, The Agency, The Recruit, and many less likely movies and television shows. During World War II, this sort of propaganda was openly distributed, since there was a widespread consensus in support of that war. However, state-sponsored propaganda in the form of Hollywood movies continued throughout the Cold War up to the present. The production of movies that completely distorted the political meaning of George Orwell’s and Graham Greene’s novels were important examples of this practice. CIA involvement was covert, since the target audience was the American public and the ideological perspective being propagated often ran counter to democratic ideals. This article recounts the history of the process by which Americans came to accept the ideas continuously promoted by the government, often without knowing that their favorite movies and television shows had been vetted or even altered by agents of the CIA or the Pentagon. Since these practices violate federal laws, the public at least has a right to know that we are being subjected to this sort of propaganda and how much tax money is spent to produce entertaining forms of disinformation.