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 7^th: 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

TRADITIONS IN AMERICAN CINEMA Series Editors: Linda Badley and R. Barton Palmer This series explores a wide range of traditions in American cinema which are in need of introduction, investigation or critical reassessment. It emphasises the multiplicity rather than the supposed homogeneity of studio-era and independent filmmaking, making a case that the American cinema is more diverse than some accounts might suggest. In Secrecy's Shadow The OSS and CIA in Hollywood Cinema, 1941-1979 [please note that subtitle is different from the front file we have] Simon Willmetts During the Second World War hundreds of Hollywood filmmakers under the command of the legendary director John Ford enlisted in the Office of Strategic Services 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 Office of Strategic Services: 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, synthesising 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 twenty archival repositories across the United States and the 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. Simon Willmetts is a lecturer in American Studies at the University of Hull. His research falls broadly within the fields of film history, cultural theory and US foreign policy. Cover image: Allen Dulles, Office of Strategic Services, CIA. Image design: Martin Lewsley Design concept: RiverDesign [EUP logo] edinburghuniversitypress.com ISBN Barcode

Simon Willmetts is a lecturer in American Studies at the University of Hull. His research falls broadly within the fields of film history, cultural theory and US foreign policy.