The American people depend on a free press to keep a close and impartial watch on the national security operations that are carried out in our name. But in many cases, this trust is sadly misplaced, as leading journalists are seduced and manipulated by the secretive agencies they cover. While the press remains silent about its corrupting relationship with the intelligence community—a relationship that dates back to the Cold War—Spooking the News will blow the lid off this unseemly arrangement. Schou will name names and shine a spotlight on flagrant examples of collusion, when respected reporters have crossed the line and sold out to powerful agencies. The book will also document how the CIA has embedded itself in “liberal” Hollywood to ensure that its fictional spies get the hero treatment on screen. Among the revelations in Spooking the News: • The CIA created a special public affairs unit to influence the production of Hollywood films and TV shows, allowing celebrities involved in pro-CIA projects—including Harrison Ford and Ben Affleck—unique access inside the agency's headquarters. • The CIA vets articles on controversial topics like the drone assassination program and grants friendly reporters background briefings on classified material, while simultaneously prosecuting ex-officers who spill the beans on damaging information.

"Jenkins's book raises serious ethical and legal questions about the relationship between the CIA and Hollywood and the extent to which we consume propaganda from one through the other. . . . Should the CIA be authorized to target American public opinion? If our artists don't confront [the question] more directly, and soon, the Agency will only continue to infiltrate our vulnerable film and television screens—and our minds." —Tom Hayden, Los Angeles Review of Books "The book makes a strong case that the CIA should not be in Hollywood at all, but that if it is, it cannot pick and choose which movies it wishes to support. Well written and researched, this study examines a subject that has not received enough scholarly or critical attention. Highly recommended." —Choice "A fascinating, highly readable, and original new work. . . . Incorporating effective, illustrative case studies, The CIA in Hollywood is definitely recommended to students of film, media relations, the CIA, and U.S. interagency relations." —H-Net Reviews

When news broke that the CIA had colluded with literary magazines to produce cultural propaganda throughout the Cold War, a debate began that has never been resolved. The story continues to unfold, with the reputations of some of America’s best-loved literary figures—including Peter Matthiessen, George Plimpton, and Richard Wright—tarnished as their work for the intelligence agency has come to light. Finks is a tale of two CIAs, and how they blurred the line between propaganda and literature. One CIA created literary magazines that promoted American and European writers and cultural freedom, while the other toppled governments, using assassination and censorship as political tools. Defenders of the “cultural” CIA argue that it should have been lauded for boosting interest in the arts and freedom of thought, but the two CIAs had the same undercover goals, and shared many of the same methods: deception, subterfuge and intimidation. Finks demonstrates how the good-versus-bad CIA is a false divide, and that the cultural Cold Warriors again and again used anti-Communism as a lever to spy relentlessly on leftists, and indeed writers of all political inclinations, and thereby pushed U.S. democracy a little closer to the Soviet model of the surveillance state. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #323333; -webkit-text-stroke: #323333} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #323333; -webkit-text-stroke: #323333; min-height: 16.0px} span.s1 {font-kerning: none}

The eagerly awaited English edition of "Bought Journalists" was suppressed for three years under the title "Journalists for Hire" -- and still got 24 five-star-only Amazon reviews from would-be readers. 18 months on the bestseller list in Germany. Now it's finally here! Ever get the feeling the media tries to manipulate or lie to you? You have plenty of company! And you are right -- the facts are in. A world-class media insider has blown the whistle on what really goes on inside the media industry. Author Udo Ulfkotte was a respected journalist for 17 years with Germany's newspaper of record, the Frankfurter Allgemeine Zeitung. He begins this explosive exposé by first owning up to his own career, where he had to sell out to have the job. He then reveals the deceptive tricks and secret networks of power within the media. How perks are used to bribe journalists and opinion makers to twist their reporting. How the tone of corruption is set from the top -- play along or quit. How the long arm of the NATO press office enrolls the media to get Europe to support more foreign wars. The elite owners of the media feel it's their right to think for us, and to mold public opinion to their agendas. Their Freedom of the Press is Freedom to Censor the news. Our nation depends on the media to understand our world, just as each one of us depends on our eyes and ears. The media are our senses. When they hide the truth, or lie to us, they put us all in danger. A million people died in Iraq, Libya and Syria because the press didn't just report the news, didn't just lie about the news, but they invented and sold the events that served as pretexts for wars. The author spent years in the Middle East, surviving an attack with chemical weapons supplied by US and German firms. This book is a veteran's guide to the media spider's web. It shows how the system works, sharpens your common sense skepticism, and increases your immunity to the controlled media's attempts to do our thinking for us.

This book investigates representations of the Central Intelligence Agency (CIA) in Hollywood films, and the synergies between Hollywood product, U.S. military/defense interests and U.S. foreign policy. As probably the best known of the many different intelligence agencies of the US, the CIA is an exceptionally well known national and international icon or even "brand," one that exercises a powerful influence on the imagination of people throughout the world as well as on the creative minds of filmmakers. The book examines films sampled from five decades - the 1960s, 1970s, 1980s, 1990s and 2000s - and explores four main issues: the relative prominence of the CIA; the extent to which these films appeared to be overtly political; the degree to which they were favorable or unfavorable to the CIA; and their relative attitude to the "business" of intelligence. A final chapter considers the question: do these Hollywood texts appear to function ideologically to "normalize" the CIA? If so, might this suggest the further hypothesis that many CIA movies assist audiences with reconciling two sometimes fundamental opposites: often gruesome covert CIA activity for questionable goals and at enormous expense, on the one hand, and the values and procedures of democratic society, on the other. This interdisciplinary book will be of much interest to students of the CIA/Intelligence Studies, media and film studies, US politics and IR/Security Studies in general.

A shocking expose of the CIA’s role as drug baron. On March 18, 1998, the CIA’s Inspector General, Fred Hitz, told astounded US Reps that the CIA had maintained relationships with companies and individuals that the Agency knew to be involved in the drug business. More shocking was the revelation that the CIA had received from Reagan’s Justice Department clearance not to report any knowledge it might have of drug-dealing by CIA assets. Many years’ worth of CIA denials, much of it under oath to Congress, were sunk. Hitz’s admissions made fools of some of the most prominent names in US journalism and vindicated others that had been ruined. Particularly resonant was the case of the San Jose Mercury News, which published a sensational series on CIA involvement in the smuggling of cocaine into black urban neighborhoods, and then under pressure conspired in the destruction of its own reporter, Gary Webb. In Whiteout, Alexander Cockburn and Jeffrey St. Clair finally put the whole story together, from the earliest days, when the CIA’s institutional ancestors cut a deal with America’s premier gangster and drug trafficker, Lucky Luciano. This is a thrilling history that stretches from Sicily in 1944 to the killing fields of Laos and Vietnam, to CIA safe houses in Greenwich Village and San Francisco where CIA men watched Agency-paid prostitutes feed LSD to unsuspecting clients. We meet Oliver North, as he plotted with Manuel Noriega and Central American gangsters. We travel to little-known airports in Costa Rica and Arkansas. We hear from drug pilots and accountants from the Cali Cartel. We learn of DEA agents whose careers were ruined because they tried to tell the truth. Cockburn and St. Clair show how the CIA’s complicity with drug-dealing criminal gangs was part and parcel of its attacks on labor organizers, whether on the docks of New York, Marseilles, or Shanghai. They trace how the Cold War and counter-insurgency led to an alliance between the Agency and the vilest of war criminals like Klaus Barbie, or fanatic opium traders like the mujahedin in Afghanistan. Cockburn and St. Clair horrifyingly affirm charges of outraged black communities that the CIA had undertaken enduring programs of experiments on minorities. They show that the CIA imported Nazi scientists straight from their labs at Dachau and Buchenwald and set to work, developing chemical and biological agents, tested on blacks, some of them in mental hospitals. Cockburn and St. Clair dissect the shameful way American journalists have not only turned a blind eye to the Agency’s misdeeds, but also helped plunge the knife into those who tried to tell the truth. Fact-packed and fast-paced, Whiteout is a richly detailed excavation of the CIA’s dirtiest secrets. For anyone who wants to know the real truth about the Agency, this is the book to start with.