Newly released CIA documents shed light on this process, as well as on the close relationship between the Agency and the makers of the Oscar-winning spy drama “Argo,” especially with the film’s director and star Ben Affleck.
Documents: Inside The US Army’s Massive $2 Million Propaganda Campaign For ‘Independence Day’ Sequel
In 2016, the United States Army developed a months-long, multi-platform promotional campaign for the ‘Independence Day’ sequel.
Kevin Gosztola highlights several top films from 2019, including Dark Waters, Hail Satan?, The Nightingale, and The Report.
CIA’s Office of Public Affairs (OPA) staff met with director Michael Bay and successfully leaned on him to make changes to his Benghazi movie, “13 Hours.”
Nearly 200 pages of contracts from the Drug Enforcement Administration (DEA) show reveal how agency exercises creative control over TV and film productions.
Some of the top 2018 films that pushed boundaries, boldly challenged conventions, or simply presented fresh stories for moviegoers.
Blade Runner 2049 The sequel to one of the best science fiction films of all time gloriously expands the universe of the 1982 original. Thirty years later, K (Ryan Gosling), an LAPD officer and blade runner, is tasked with an investigation that may unravel everything he knows about the decaying
Documents show the FBI expects filmmakers or television producers to cooperate with their requests for script changes or else they will deny support.
On this week’s “Unauthorized Disclosure” podcast, host Kevin Gosztola interviews Tom Secker, the co-author of “National Security Cinema: The Shocking New Evidence of Government Control in Hollywood.” He also regularly publishes his work to SpyCulture.com. Secker obtained government records indicating the Pentagon provided “support” or influenced 814 films from 1911
“Though the movie may contain compelling cinematography and engrossing performances, as history,” “Lawrence of Arabia” “receives a failing grade,” renowned media critic Jack Shaheen wrote. “Throughout, the theme of cultural domination prevails—the civilized British conquering civilized folks.” Shaheen continued, “After all, the movie concerns a brave Englishman, not a valiant Arab.