Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. List of Illustrations xi
4. Acknowledgments xiii
5. 1. The Military’s Cinema Complex 1
6. PART ONE. THE MILITARY’S CINEMA APPARATUS
7. 2. Experimental Viewing Protocols: Film Projection and the American Military 25
8. 3. Mobilizing the Moving Image: Movie Machines at US Military Bases and Veterans’ Hospitals during World War II 44
9. 4. Through America’s Eyes: Cinerama and the Cold War 61
10. 5. An Army of Theaters: Military, Technological, and Industrial Change in US Army Motion-Picture Exhibition 75
11. PART TWO. STRATEGIES OF VIEWING
12. 6. War in Peace: The American Legion and the Continuing Service of Film 95
13. 7. Managing the Trauma of Labor: Military Psychiatric Cinema in World War II 116
14. 8. The Cinema Intelligence Apparatus: Gregory Bateson, the Museum of Modern Art Film Library, and the Intelligence Work of Film Studies during World War II 137
15. 9. Epistemology of the Checkpoint: Gillo Pontecorvo’s Battle of Algiers and the Doctrine of Counterinsurgency 157
16. PART THREE. MILITARY-MADE MOVIES
17. 10. Between the Front Lines: Military Training Films, Machine Guns, and the Great War 177
18. 11. From Wartime Instruction to Superpower Cinema: Maintaining the Military-Industrial Documentary 192
19. 12. Framing the Bomb in the West: The View from Lookout Mountain 210
20. 13. Occupation, Diplomacy, and the Moving Image: The US Army as Cultural Interlocutor in Korea, 1945–1948 227
21. 14. Shots Made around the World: DASPO’s Documentation of the Vietnam War 241
22. PART FOUR. THE MILITARY AND ITS COLLABORATORS
23. 15. War, Media, and the Security of State and Capital 261
24. 16. Star Testimonies: World War and the Cultural Politics of Authority 281
25. 17. “A Treacherous Tightrope”: The Office of War Information, Psychological Warfare, and Film Distribution in Liberated Europe 305
26. 18. “A Campaign of Truth”: Marshall Plan Films in Greece 321
27. Bibliography 339
28. List of Contributors 365
29. Index 369