| dc.contributor.author | Shaw, Tony | |
| dc.contributor.author | Jenkins, Tricia | |
| dc.date.accessioned | 2017-06-08T17:48:41Z | |
| dc.date.available | 2017-06-08T17:48:41Z | |
| dc.date.issued | 2017-01-13 | |
| dc.identifier.citation | Shaw , T & Jenkins , T 2017 , ' From Zero to Hero: The CIA at the Movies Today ' , Cinema Journal , vol. 56 , no. 2 , pp. 90-113 . https://doi.org/10.1353/cj.2017.0004 | |
| dc.identifier.issn | 0009-7101 | |
| dc.identifier.uri | http://hdl.handle.net/2299/18304 | |
| dc.description | This is a pre-copyedited version of an article accepted for publication in Cinema Journal, following peer review. The definitive publisher-authenticated version is available through the University of Texas Press via DOI: https://doi.org/10.1353/cj.2017.0004 | |
| dc.description.abstract | This article examines the production, content, and public reception of Zero Dark Thirty (Kathryn Bigelow, 2012) and Argo (Ben Affleck, 2012). The two Oscar-winning films are set within the context of the Central Intelligence Agency’s efforts over the past two decades to engage more creatively with America’s entertainment industry. While Zero Dark Thirty and Argo are just two of the CIA’s most recent collaborations with Hollywood, it can be argued that, together, they represent the organization’s greatest achievements so far in refashioning the image of US intelligence on the silver screen. | en |
| dc.format.extent | 30 | |
| dc.format.extent | 1253521 | |
| dc.language.iso | eng | |
| dc.relation.ispartof | Cinema Journal | |
| dc.title | From Zero to Hero: : The CIA at the Movies Today | en |
| dc.contributor.institution | History | |
| dc.contributor.institution | School of Humanities | |
| dc.description.status | Peer reviewed | |
| rioxxterms.versionofrecord | 10.1353/cj.2017.0004 | |
| rioxxterms.type | Journal Article/Review | |
| herts.preservation.rarelyaccessed | true | |
