Jump to ContentJump to Main Navigation
In Secrecy's ShadowThe OSS and CIA in Hollywood Cinema 1941-1979$
Users without a subscription are not able to see the full content.

Simon Willmetts

Print publication date: 2016

Print ISBN-13: 9780748692996

Published to Edinburgh Scholarship Online: January 2018

DOI: 10.3366/edinburgh/9780748692996.001.0001

Show Summary Details
Page of

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



(p.1) Introduction
In Secrecy's Shadow

Simon Willmetts

Edinburgh University Press

If official secrecy had a devastating impact on American history, its impact on Americans’ understanding of that history was a collateral disaster.1

Richard Gid Powers, introduction to Senator Daniel Patrick Moynihan, Secrecy: The American Experience

13 Rue Madeleine, a 1947 semi-documentary that commemorates the sacrifice and courage of the Central Intelligence Agency’s (CIA’s) wartime predecessor, the Office of Strategic Services (OSS), opens with a shot of the US National Archives Building on Pennsylvania Avenue. The building’s location, at the heart of the nation’s capital on the Washington Mall, amidst so many iconic monuments to American democracy, is no accident. Like the Washington or Lincoln Memorial, it is a depository of historical experience that binds up the nation. In its inner-sanctum, as audiences then and now would know, the United States of America’s founding documents, including the Constitution and the Declaration of Independence, are housed. After the establishing shot the camera slowly tilts from top to bottom, surveying the archive’s columnar neo-classical facade – a common architectural feature of America’s monuments that evokes a sense of both history and authority. Finally, it comes to rest on a statue in the forecourt of the archive called Future. On Future’s plinth, the inscription reads: ‘What is Past is Prologue’. At this point we hear the booming voice of an omniscient narrator – an oratory style borrowed from the newsreels of the time that was also a defining feature of the semi-documentary format:...

Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.