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In Secrecy's ShadowThe OSS and CIA in Hollywood Cinema 1941-1979$
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Simon Willmetts

Print publication date: 2016

Print ISBN-13: 9780748692996

Published to Edinburgh Scholarship Online: January 2018

DOI: 10.3366/edinburgh/9780748692996.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 18 September 2021

The Death of the ‘Big Lie’ and the Emergence of Postmodern Incredulity in the Spy Cinema of the 1960s

The Death of the ‘Big Lie’ and the Emergence of Postmodern Incredulity in the Spy Cinema of the 1960s

Chapter:
(p.170) 4. The Death of the ‘Big Lie’ and the Emergence of Postmodern Incredulity in the Spy Cinema of the 1960s
Source:
In Secrecy's Shadow
Author(s):

Simon Willmetts

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748692996.003.0004

In the 1960s American spy cinema underwent a profound transformation: out went the austere state-sponsored narratives of the semi-documentary format that proclaimed their historical authenticity due to their reliance upon official sources, and in came a new type of spy cinema, epitomised by the James Bond films, that was tongue-in-cheek, “camp”, and which revelled in artifice. Though ostensibly apolitical, this formal shift in the way in which Hollywood portrayed American secret intelligence was the beginning of a profound shift away from the state as the arbiter of authenticity and towards a new politics of incredulity, marking the onset of postmodernity in the United States.

Keywords:   Alfred Hitchcock, James Bond, Graham Greene, Postmodernism, Ian Fleming, Camp, Satire, Spy Cinema, The President’s Analyst, Spoof

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