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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." "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."--BOOK JACKET.
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Previews available in: English
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Edition | Availability |
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1
Operación Hollywood: La censura en el Pentágono
2006, Océano
Tapa blanda
in Spanish
8449426960 9788449426964
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2
Operation Hollywood: How the Pentagon Shapes and Censors the Movies
2004, Prometheus Books
in English
1591021820 9781591021827
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3
Operation Hollywood: How the Pentagon Shapes and Censors the Movies
2003, Prometheus Books·
in English
1591021820 9781591021827
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Book Details
Edition Notes
Includes bibliographical references (p. 369-372) and index.
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Work Description
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 quite steep. In exchange for access to sophisticated military hardware and expertise, filmmakers must agree to censorship from the Pentagon.
As veteran Hollywood journalist David L. Robb shows in this revealing insider’s look into Hollywood’s "dirtiest little secret," the final product that moviegoers see at the theater is often not just what the director intends but also what the powers-that-be in the military want to project about America’s armed forces. Sometimes the censor 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 spokesman: "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." That can be quite a persuasive threat to a filmmaker trying to keep his movie within budget.
Robb takes us behind the scenes during the making of many well-known movies. From The Right Stuff to Top Gun and even Lassie, the list of movies in which the Pentagon got its way is very long. Only when a director is determined to spend more money than necessary to make his own movie without interference, as in the case of Oliver Stone in the creation of Platoon or Francis Ford Coppola in Apocalypse Now, is a film released that presents the director’s unalloyed vision.
For anyone who loves movies and cares about freedom of expression, Operation Hollywood is an engrossing, shocking, and very entertaining book.
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