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