Hollywood And The Military Bureaucracy

Through a century of movies, the U.S. military held sway over war and service-oriented films. Influenced by the armed forces and their public relations units, Hollywood presented moviegoers with images of a faultless American fighting machine led by heroic commanders. This book examines this cooperation with detailed narratives of military blunders and unfit officers that were whitewashed to be presented in a more favorable light. Drawing on production files, correspondence between bureaucrats and filmmakers, and contemporary critical reviews, the author reveals the behind-the-scenes political maneuvers that led to the rewriting of history on-screen.

Through a century of movies, the U.S. military held sway over war and service-oriented films. Influenced by the armed forces and their public relations units, Hollywood presented moviegoers with images of a faultless American fighting machine led by heroic commanders. This book examines this cooperation with detailed narratives of military blunders and unfit officers that were whitewashed to be presented in a more favorable light. Drawing on production files, correspondence between bureaucrats and filmmakers, and contemporary critical reviews, the author reveals the behind-the-scenes political maneuvers that led to the rewriting of history on-screen.

War Movies and Economics: Lessons from Hollywood’s Adaptations of Military Conflict applies ongoing research in the relatively new genre of economics in popular media to Hollywood’s war movies. Whether inadvertently or purposefully, these movies provide numerous examples of how economic principles often play an important role in military conflict. The authors of the chapters included in this edited collection work to illustrate economics lessons portrayed in adaptations such as Band of Brothers, Conspiracy, The Dirty Dozen, Dunkirk, Memphis Belle, Saving Private Ryan, Schindler’s List, Spartacus, Stalag 17, and Valkyrie. Aspects of these stories show how key economic principles of scarcity, limited resources, and incentives play important roles in military conflict. The movies also provide an avenue for discussion of the economics of public goods provision, the modern economic theory of bureaucracy, and various game-theoretic concepts such as strategic moves and commitment devices. Where applicable, lessons from closely related fields such as management are also provided. This book is ideal reading for students of economics looking for an approachable route to understanding basic principles of economics and game theory. It is also accessible to amateur and professional historians, and any reader interested in popular culture as it relates to television, movies, and military history.

This book deals with film depictions of Imperial Japan from the time it was a totalitarian power to the productions of recent years. It especially covers wartime depictions, as well as the historical events that inspire the stories behind these productions. In the 1930s, Hollywood gave us the likeable Mr. Moto at the same time Japan was set on its expansionist course. When war broke out, both the Allies and the Axis produced propaganda films that increased hatred for the enemy. In the postwar years as the Cold War took hold, the U.S. government encouraged friendship with their former wartime enemy. This book details correspondence between studio personnel and the Production Code office, as well as the critiques of film reviewers, historians and military figures from both sides of the conflict. Also examined are behind-the-scenes machinations from both the Japanese and American governments in the censorship of controversial film content.

This book demonstrates how government bureaucracy is portrayed in the top ten box office grossing films from 2000–2015. Perhaps unsurprisingly, government is generally portrayed poorly, but individual government bureaucrats are typically depicted positively.

An in-depth look at the portrayal of Asian characters by non-Asian actors in classical Hollywood film.

Character actor Richard Jaeckel worked five decades in Hollywood alongside the industry's biggest names. Noted for tough-guy portrayals, he appeared in such classic westerns and war films as Sands of Iwo Jima (1949), The Gunfighter (1950), 3:10 to Yuma (1957), and The Dirty Dozen (1967). Bringing strength and integrity to his roles, he was nominated for a Best Supporting Actor Oscar for Sometimes a Great Notion (1970). A World War II veteran and Merchant Marine, he was respected in the surfing and fitness communities for his ageless athleticism. His performance as Turk in Come Back, Little Sheba (1952) was groundbreaking for iron-pumping actors wanting to be taken seriously for their dramatic abilities. This revealing portrait of the life of a working character actor covers Jaeckel's noteworthy career through each of his film and television appearances, from Guadalcanal Diary (1943) to Baywatch (1994). Recollections and behind the scenes stories from those he knew and worked with offer an in-depth look at the dedication and professionalism it takes to make it in Hollywood.

“I first met Robert Kennedy because I spoke Spanish. I spoke Spanish because the U.S. Army taught me that before sending me to France, Belgium, and Germany to fight Hitler’s Army. This makes complete sense if you are familiar with military bureaucracy.” Such is the trademark wit of Frank Mankiewicz. With his dry sense of humor and self-deprecating humility—despite his many accomplishments—Frank’s voice speaks from the pages of So as I was Saying... in a way that is both conversational and profound. Before he died in 2014 Frank’s fascinating life took him from Beverly Hills to the battlefields of Europe; from the halls of power in Washington D.C. to the far corners of the world. A lifelong student of humanity and mentor to many, including presidents, Frank was a loving father, husband, and friend, and his legacy is will endure for generations. Born into Hollywood royalty but determined to make his own way, Frank served in World War Two, wrote speeches for Robert Kennedy, ran a presidential campaign, carried messages to Fidel Castro, served as president of National Public Radio (helping create Morning Edition), and as regional director for the Peace Corps. Naturally such a long and interesting life gave rise to a myriad of opinions, and Frank was not afraid to share them. In this intriguing, insightful, and often humorous memoir, Frank recalls his favorite memories while sharing his opinions on everything from Zionism to smartphones. Imbued with the personality of one of the twentieth century’s most gifted raconteurs, So As I Was Saying... invokes nostalgia for the past even as it gives hope for the future.