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Information resources management --- United States. --- FBI --- FBR --- Federal Bureau of Investigation (U.S.) --- Federalʹnoe bi︠u︡ro rassledovaniĭ v SShA --- Information technology. --- Information resources management.

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Initiated in the aftermath of the September 11 terrorist attacks, have the reforms of the US intelligence enterprise served their purpose? What have been the results of the creation of the Department of Homeland Security, the Office of the Director of National Intelligence, and a reorganized FBI? Have they helped to reduce blind spots and redundancies in resources and responsibilities . and to prevent misuses of intelligence and law enforcement? How did a disaster like the Snowden scandal happen? Darren Tromblay answers these questions in his thorough, often provocative, assessment of post–9/11 US domestic intelligence activities in the pursuit of national security.

INTELLIGENCE SERVICE--USA --- National security --- Domestic intelligence --- Domestic national security intelligence --- Intelligence service --- Homeland defense --- Homeland security --- United States. --- FBI --- FBR --- Federal Bureau of Investigation (U.S.) --- Federalʹnoe bi︠u︡ro rassledovaniĭ v SShA --- DHS

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This study of twentieth-century American poet Muriel Rukeyser explores the multiple avenues of her 'poetics of connection' to reveal a profound engagement with the equally intertextual documentary genre. It examines previously overlooked photo narratives, poetry, prose and archival material and demonstrates an enduring dialogue between the poet's relational aesthetics and documentary's similarly interdisciplinary and creative approach to the world. By considering the sources of documentary in Rukeyser's work, the study provides insight into her guiding poetic principles, situating her as a vital figure in the history of twentieth-century American literature and culture, and as a pioneering personality in the development of American Studies.

American literature --- History and criticism. --- Rukeyser, Muriel, --- Criticism and interpretation. --- Documentary films --- United States. --- FBI --- FBR --- Federal Bureau of Investigation (U.S.) --- Federalʹnoe bi︠u︡ro rassledovaniĭ v SShA

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Using over twelve thousand previously classified documents made available through the Freedom of Information Act, David Cunningham uncovers the riveting inside story of the FBI's attempts to neutralize political targets on both the Right and the Left during the 1960's. Examining the FBI's infamous counterintelligence programs (COINTELPROs) against suspected communists, civil rights and black power advocates, Klan adherents, and antiwar activists, he questions whether such actions were aberrations or are evidence of the bureau's ongoing mission to restrict citizens' right to engage in legal forms of political dissent. At a time of heightened concerns about domestic security, with the FBI's license to spy on U.S. citizens expanded to a historic degree, the question becomes an urgent one. This book supplies readers with insights and information vital to a meaningful assessment of the current situation. There's Something Happening Here looks inside the FBI's COINTELPROs against white hate groups and the New Left to explore how agents dealt with the hundreds of individuals and organizations labeled as subversive threats. Rather than reducing these activities to a product of the idiosyncratic concerns of longtime director J. Edgar Hoover, Cunningham focuses on the complex organizational dynamics that generated literally thousands of COINTELPRO actions. His account shows how--and why--the inner workings of the programs led to outcomes that often seemed to lack any overriding logic; it also examines the impact the bureau's massive campaign of repression had on its targets. The lessons of this era have considerable relevance today, and Cunningham extends his analysis to the FBI's often controversial recent actions to map the influence of the COINTELPRO legacy on contemporary debates over national security and civil liberties.

Hate groups --- New Left --- Intelligence service --- Social groups --- Left, New --- Liberalism --- Right and left (Political science) --- Government policy --- United States. --- FBI --- FBR --- Federal Bureau of Investigation (U.S.) --- Federalʹnoe bi︠u︡ro rassledovaniĭ v SShA --- 1960s. --- america. --- american society. --- antiwar activists. --- black power advocates. --- citizens rights. --- civil rights. --- classified documents. --- cointelpro. --- controversial. --- counterintelligence. --- domestic security. --- ethics. --- fbi. --- freedom of information act. --- human rights violations. --- kkk. --- ku klux klan. --- legal boundaries. --- modern history. --- national security. --- new left. --- nonfiction. --- political dissent. --- political history. --- political perspective. --- subversive threats. --- suspected communists. --- us citizens. --- white hate groups.

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Between 1942 and 1958, J. Edgar Hoover's Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood's alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover's G-men on screenplays and screenings of such films as Frank Capra's It's a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI's anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954).In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood's history and the post-World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs.Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle at best, or, at its worst, conducive to communism at home. Those who took part in Hollywood's Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War.

Cold War --- Communism and motion pictures --- Cold War in motion pictures. --- Motion pictures --- Communism and moving-pictures --- Motion pictures and communism --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Social aspects --- Political aspects --- History. --- History and criticism --- United States. --- FBI --- FBR --- Federal Bureau of Investigation (U.S.) --- Federalʹnoe bi︠u︡ro rassledovaniĭ v SShA