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Hollywood, like the US press, has not been spared the influential hand of government. Under the mask of various projects, the defence establishment has sought to influence the narrative of Freedom Land’s pursuits, buying a stake in the way exploits are marketed or, when needed, buried.
The extent of such collaboration, manipulation and interference can be gathered in National Security Cinema: The Shocking New Evidence of Government Control in Hollywood (2017). Matthew Alford and Tom Secker argue that a number of operations mounted by the Pentagon, the CIA and the FBI were designed to further “violent, American-centric solutions to international problems based on twisted readings of history.”
The US Air Force has its own Entertainment Liaison Office in Hollywood, run by director Lieutenant Colonel Glen Roberts. “Our job,” he explained in 2016, “is to project and protect the image of the US Air Force and its Airmen in the entertainment space.” Propaganda is not a word he knows, even though he is its most ardent practitioner. He describes the involvement of his office across scripted or unscripted television, movies, documentaries, reality TV, award and game shows, sporting events and video games. Its purpose: “to present the Air Force and its people in a credible, realistic way” and provide the entertainment industry with “access to Airmen, bases and equipment if they meet certain standards set by the Department of Defense.”
No more blatant has this link between celluloid, entertainment and the military industrial complex been evident than in the promotion of Top Gun. When it hit the cinemas in 1986, the US military received a wash of service academy applications, though finding exact recruitment figures linked to the film has not been easy. (This has not...