Haidee Wasson is Professor of Film and Media Studies at Concordia University, Montreal. She is the author of Museum Movies: The Museum of Modern Art and the Birth of Art Cinema and the coeditor of Inventing Film Studies and Useful Cinema. Lee Grieveson is Professor of Media History at University College London. He is the author of Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System and the coeditor of several volumes, including Inventing Film Studies and Empire and Film.

• List of IllustrationsAcknowledgments1. The Military’s Cinema ComplexLee Grieveson and Haidee WassonPART ONE. THE MILITARY’S CINEMA APPARATUS2. Experimental Viewing Protocols: Film Projection and the American MilitaryHaidee Wasson3. Mobilizing the Moving Image: Movie Machines at US Military Bases and Veterans’ Hospitals during World War IIAndrea Kelley4. Through America’s Eyes: Cinerama and the Cold WarRebecca Prime5. An Army of Theaters: Military, Technological, and Industrial Change in US Army Motion-Picture ExhibitionRoss MelnickPART TWO. STRATEGIES OF VIEWING6. War in Peace: The American Legion and the Continuing Service of FilmTom Rice7. Managing the Trauma of Labor: Military Psychiatric Cinema in World War IIKaia Scott8. Th e Cinema Intelligence Apparatus: Gregory Bateson, the Museum of Modern Art Film Library, and the Intelligence Work of Film Studies during World War IINathaniel Brennan9. Epistemology of the Checkpoint: Gillo Pontecorvo’s Battle of Algiers and the Doctrine of CounterinsurgencyVinzenz HedigerPART THREE. MILITARY-MADE MOVIES10. Between the Front Lines: Military Training Films, Machine Guns, and the Great WarFlorian Hoof11. From Wartime Instruction to Superpower Cinema: Maintaining the Military-Industrial DocumentaryNoah Tsika12. Framing the Bomb in the West: Th e View from Lookout MountainSusan Courtney13. Occupation, Diplomacy, and the Moving Image: The US Army as Cultural Interlocutor in Korea, 1945–1948Sueyoung Park-Primiano14. Shots Made around the World: DASPO’s Documentation of the Vietnam WarJames PaaschePART FOUR. THE MILITARY AND ITS COLLABORATORS15. War, Media, and the Security of State and CapitalLee Grieveson16. Star Testimonies: World War and the Cultural Politics of AuthoritySue Collins17. “A Treacherous Tightrope”: The Office of War Information, Psychological Warfare, and Film Distribution in Liberated EuropeAlice Lovejoy18. “A Campaign of Truth”: Marshall Plan Films in GreeceKaterina LoukopoulouBibliographyList of ContributorsIndex

Haidee Wasson is Professor of Film and Media Studies at Concordia University, Montreal. She is the author of Museum Movies: The Museum of Modern Art and the Birth of Art Cinema and the coeditor of Inventing Film Studies and Useful Cinema. Lee Grieveson is Professor of Media History at University College London. He is the author of Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System and the coeditor of several volumes, including Inventing Film Studies and Empire and Film.

• List of IllustrationsAcknowledgments1. The Military’s Cinema ComplexLee Grieveson and Haidee WassonPART ONE. THE MILITARY’S CINEMA APPARATUS2. Experimental Viewing Protocols: Film Projection and the American MilitaryHaidee Wasson3. Mobilizing the Moving Image: Movie Machines at US Military Bases and Veterans’ Hospitals during World War IIAndrea Kelley4. Through America’s Eyes: Cinerama and the Cold WarRebecca Prime5. An Army of Theaters: Military, Technological, and Industrial Change in US Army Motion-Picture ExhibitionRoss MelnickPART TWO. STRATEGIES OF VIEWING6. War in Peace: The American Legion and the Continuing Service of FilmTom Rice7. Managing the Trauma of Labor: Military Psychiatric Cinema in World War IIKaia Scott8. Th e Cinema Intelligence Apparatus: Gregory Bateson, the Museum of Modern Art Film Library, and the Intelligence Work of Film Studies during World War IINathaniel Brennan9. Epistemology of the Checkpoint: Gillo Pontecorvo’s Battle of Algiers and the Doctrine of CounterinsurgencyVinzenz HedigerPART THREE. MILITARY-MADE MOVIES10. Between the Front Lines: Military Training Films, Machine Guns, and the Great WarFlorian Hoof11. From Wartime Instruction to Superpower Cinema: Maintaining the Military-Industrial DocumentaryNoah Tsika12. Framing the Bomb in the West: Th e View from Lookout MountainSusan Courtney13. Occupation, Diplomacy, and the Moving Image: The US Army as Cultural Interlocutor in Korea, 1945–1948Sueyoung Park-Primiano14. Shots Made around the World: DASPO’s Documentation of the Vietnam WarJames PaaschePART FOUR. THE MILITARY AND ITS COLLABORATORS15. War, Media, and the Security of State and CapitalLee Grieveson16. Star Testimonies: World War and the Cultural Politics of AuthoritySue Collins17. “A Treacherous Tightrope”: The Office of War Information, Psychological Warfare, and Film Distribution in Liberated EuropeAlice Lovejoy18. “A Campaign of Truth”: Marshall Plan Films in GreeceKaterina LoukopoulouBibliographyList of ContributorsIndex

Haidee Wasson is Professor of Film and Media Studies at Concordia University, Montreal. She is the author of Museum Movies: The Museum of Modern Art and the Birth of Art Cinema and the coeditor of Inventing Film Studies and Useful Cinema. Lee Grieveson is Professor of Media History at University College London. He is the author of Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System and the coeditor of several volumes, including Inventing Film Studies and Empire and Film.

• List of IllustrationsAcknowledgments1. The Military’s Cinema ComplexLee Grieveson and Haidee WassonPART ONE. THE MILITARY’S CINEMA APPARATUS2. Experimental Viewing Protocols: Film Projection and the American MilitaryHaidee Wasson3. Mobilizing the Moving Image: Movie Machines at US Military Bases and Veterans’ Hospitals during World War IIAndrea Kelley4. Through America’s Eyes: Cinerama and the Cold WarRebecca Prime5. An Army of Theaters: Military, Technological, and Industrial Change in US Army Motion-Picture ExhibitionRoss MelnickPART TWO. STRATEGIES OF VIEWING6. War in Peace: The American Legion and the Continuing Service of FilmTom Rice7. Managing the Trauma of Labor: Military Psychiatric Cinema in World War IIKaia Scott8. Th e Cinema Intelligence Apparatus: Gregory Bateson, the Museum of Modern Art Film Library, and the Intelligence Work of Film Studies during World War IINathaniel Brennan9. Epistemology of the Checkpoint: Gillo Pontecorvo’s Battle of Algiers and the Doctrine of CounterinsurgencyVinzenz HedigerPART THREE. MILITARY-MADE MOVIES10. Between the Front Lines: Military Training Films, Machine Guns, and the Great WarFlorian Hoof11. From Wartime Instruction to Superpower Cinema: Maintaining the Military-Industrial DocumentaryNoah Tsika12. Framing the Bomb in the West: Th e View from Lookout MountainSusan Courtney13. Occupation, Diplomacy, and the Moving Image: The US Army as Cultural Interlocutor in Korea, 1945–1948Sueyoung Park-Primiano14. Shots Made around the World: DASPO’s Documentation of the Vietnam WarJames PaaschePART FOUR. THE MILITARY AND ITS COLLABORATORS15. War, Media, and the Security of State and CapitalLee Grieveson16. Star Testimonies: World War and the Cultural Politics of AuthoritySue Collins17. “A Treacherous Tightrope”: The Office of War Information, Psychological Warfare, and Film Distribution in Liberated EuropeAlice Lovejoy18. “A Campaign of Truth”: Marshall Plan Films in GreeceKaterina LoukopoulouBibliographyList of ContributorsIndex