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The trickle of recent books has pushed back but only fractionally and tentatively.
An earlier breakthrough occurred at the turn of the century, when historians identified successful attempts in the 1950s by a senior individual at the Paramount film studio to promote narratives favourable to a CIA contact known only as “Owen”.
This meant it was entirely absent from cinematic and televisual culture until a fleeting image of a partially obscured plaque in Alfred Hitchcock’s .
Leaked private memos published by our colleague Tricia Jenkins in 2016, and other memos published in 2013 by the mainstream media, indicate that each of these productions was heavily influenced by government officials.
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Nor should we see the clandestine services as simply passive, naive or ineffectual during the counterculture years or its aftermath.
Scrutiny of previously hidden documents reveals that the answer is: very.
We can now show that the relationship between US national security and Hollywood is much deeper and more political than anyone has ever acknowledged.
They were still able to derail a Marlon Brando picture about the Iran-Contra scandal (in which the US illegally sold arms to Iran) by establishing a front company run by Colonel Oliver North to outbid Brando for the rights, journalist Nicholas Shou recently claimed.
The national security state has a profound, sometimes petty, impact on what Hollywood conveys politically.
It is a matter of public record that the Pentagon has had an entertainment liaison office since 1948.