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" Operation Hollywood : "
David L. Robb.
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BL
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| Record Number
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853865
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| Main Entry
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Robb, David L.
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| Title & Author
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Operation Hollywood : : how the Pentagon shapes and censors the movies /\ David L. Robb.
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| Publication Statement
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Amherst, N.Y. :: Prometheus Books,, 2004.
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| Page. NO
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384 pages :: illustrations ;; 24 cm
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| ISBN
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1591021820
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: 9781591021827
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| Bibliographies/Indexes
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Includes bibliographical references (pages 369-372) and index.
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| Contents
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An officer, but not a gentleman (An Officer And A Gentleman) -- "Writing the scene to the Admiral's specifications" (Raise The Titanic) -- Join the Navy; be indicted (Final Countdown, Clear And Present Danger, Good Morning Vietnam) -- Join the Army; be indicted (The General's Daughter, McHale's Navy) -- Clint Eastwood versus the Pentagon (Heartbreak Ridge) -- "Is that not propaganda?" (A Rumor Of War) -- Sanitizing The Great Santini -- "A wonderful public relations tool" (Taps) -- Mooning the Pentagon (Inchon) -- Let there not be light (Maria's Lovers) -- "The propaganda value of the film" (The Green Berets) -- Bowing to political pressure (Blood Alley) -- Erasing Private Pedro (Battle Cry) -- "A shameful attempt to impose censorship on a film" (Attack!) -- Lassie wants you to join the Army (Lassie) -- Babes in arms (The Mickey Mouse Club, Independence Day, Steve Canyon, West Point, Men Of Annapolis) -- Babes in gas chambers (Devil Pups (the unproduced movie)) -- The Cy Roth story (Air Strike) -- "Cooperation by the United States Navy should evince a certain reciprocity in making changes in the script" (Hellcats Of The Navy) -- Even good men do bad things: the Frank McCarthy story (Three Brave Men, Patton) -- Covering up the cover up (The Court-Martial Of Billy Mitchell) -- Religiously incorrect (The Proud And The Profane) -- Torpedoed by the Navy (Admiral Rickover (the unproduced movie), Supercarrier (the canceled TV show)) -- Heroes and villains.
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Censoring James Bond (Tomorrow Never Dies, Goldeneye) -- "A commercial for us" (Clear and Present Danger) -- "Discrimination against speech because of its message is presumed to be unconstitutional" (Countermeasures (the unproduced movie), The Last Detail, Cinderella Liberty) -- "Revisionist history" (Thirteen Days, The Perfect Storm) -- Changing history (Windtalkers) -- Bending over backwards (Independence Day, G.I. Jane) -- "The producers will 'punch it up' in any manner we dictate" (Jurassic Park III) -- "The mooning of a President by a uniformed soldier is not acceptable cinematic license" (Forrest Gump) -- Rewriting Renaissance Man -- "It's all in the negotiations": the films of Jerry Bruckheimer (Black Hawk Down, Pearl Harbor, Armageddon, Top Gun, Crimson Tide) -- "Show stoppers" (Air Force One) -- Self-censorship is still censorship (The Tuskegee Airmen, Afterburn, The Wall, A Dangerous Life) -- The First Amendment doesn't always come first (Hearts in Atlantis) -- Approval denied (Citizen Cohn, Fail Safe, Mars Attacks, Outbreak, Space Cowboys, Memphis Belle, The General's Daughter, Sergeant Bilko, Courage Under Fire, Lone Star, Broken Arrow, The Pentagon Wars) -- "Dishonest propaganda" (My Father My Son, Fields Of Fire) -- Sanitizing JAG -- "A 45-minute commercial for Marine Aviation" (Pensacola: Wings Of Gold, Gardens Of Stone) -- Bending the rules (Jets, Silver Wings, Executive Decision, Family Of Spies) -- "I want page six and seven completely thrown out or you don't get to use our aircraft carrier" (The Agency, The Sum Of All Fears, In The Company Of Spies) -- Turning vodka into water (The Presidio) -- Censorship: the final frontier (Star Trek IV) -- Almost sunk by the Navy (The Hunt For Red October, No Way Out) -- Turning movies into recruiting posters (The Right Stuff. The Final Countdown, Air Force One, Flight Of The Intruder, The Hunt For Red October, Top Gun, Behind Enemy Lines, Deep Impact, In The Army Now, Airport '77, D-Day: The Sixth Of June, Second To None (the unproduced movie), To Hell And Back, Take Her Down) -- "Editorial control over the product" (JAG, (the unproduced movie)) -- Changing stripes (Stripes, Evolution).
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| Abstract
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"The only thing Hollywood likes more than a good movie is a good deal. For more than fifty years producers and directors of war and action movies have been getting a great deal from America's armed forces by receiving access to billions of dollars worth of military equipment and personnel for little or no cost. Although this arrangement considerably lowers a film's budget, the cost in terms of intellectual freedom can be steep. In exchange for access to sophisticated military hardware and expertise, filmmakers must agree to censorship from the Pentagon."
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"As veteran Hollywood journalist David L. Robb shows in this insider's look into Hollywood's "dirtiest little secret," the final product that moviegoers see at the theater reflects less about what the director intends and more what the powers-that-be in the military want to project about America's armed forces. Sometimes a military liaison officer demands removal of just a few words; other times whole scenes must be scrapped or completely revised. What happens if a director refuses the requested changes? Robb quotes a Pentagon spokesperson: "Well, I'm taking my toys and I'm going home. I'm taking my tanks and my troops and my location, and I'm going home." Such threats can be persuasive to filmmakers trying to keep their productions on time and within budget."--Jacket.
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USA
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USA-- Verteidigungsministerium.
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Filmproduktion, Firma
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Umschulungswerkstätten für Siedler und Auswanderer, Bitterfeld
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Armed Forces in motion pictures.
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Motion pictures-- Censorship-- United States.
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Cinéma-- Censure-- États-Unis.
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Forces armées au cinéma.
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Armed Forces in motion pictures.
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Censure.
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Filmzensur
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Forces armées.
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Industrie cinématographique.
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Kriegsfilm
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Motion pictures-- Censorship.
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Filmzensur.
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Etats-Unis d'Amérique.
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United States.
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| Dewey Classification
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363.31/0973
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| LC Classification
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PN1995.9.A72R63 2004
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| NLM classification
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AP 44983rvk
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AP 44983.rvk
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HD 370rvk
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HD 370.rvk
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