viernes, 28 de abril de 2017


Shawn Guthrie

4:20 PM (4 hours ago)

to me

Dear Mr. Villacorta:

Recently, the Academy’s Grants Committee met to select the recipients of the Academy Film Scholars Grants.  Out of 68 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals.  After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two.  Regrettably, your proposal was not selected.

A press release announcing the two newest Academy Film Scholars will be distributed in the near future and I will make sure a copy is e-mailed to you.

The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed.  They anticipate that a number of the proposals will come to fruition.  They also wanted you to know that your re-application to the program in the future would be welcome.  The online application form will be available once again in late summer or early fall.

Best of luck in all your future endeavors.

Shawn Guthrie
Manager, Grants and Student Academy Awards


Academy of Motion Picture Arts & Sciences

Jan 31

to me

Thank you for your submission. Your application has been submitted successfully, and the tracking number is 28143. You will be receiving more information on the status of your application shortly. For your records, here is a copy of the contents of your application.


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Los Halcones 563. Urb. Sta. Cecilia. Bellavista.




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Proposal Information

Project Title

Hollywood And The U.S. Intelligence Community: Typical Images.

Project Statement Summary

(One or two paragraphs summarizing the project)

The images that the American mainstream movies show of the U.S. Intelligence Community (IC) constitute a visual mythology in the making. Due to the immense importance of the activities developed by the IC, its portrayal mobilize emotions that can be as intense as a religious passion. While an institution like the Catholic Church has had hundreds of years to develop its visual discourse, the young IC is developing its visual ideology right now helped by the powerful influence of the movies. Identifying the most typical of these images is necessary to begin the study of this novel iconography.

Project Type

(i.e. book, multi media presentation, interactive dvd, curatorial project, website)


College/University Affiliation (if any)

(List for both if there are two applicants)

Projected Project Completion Date


Anticipated Use of Grant Funds

(e.g., research travel, time off, book photos, etc.)

Books, time off, research travel, acquisition of materials (books, DVDs), book photos.


1. Choose the Title from the drop down menu of the file you wish to attach.
2. Click the Browse button to search for the file you wish to upload. Click the file you want to attach then click the Open button.
3. Click the Upload button to attach the file to this application.
4. Then return to the Title drop down to repeat Steps 1-3 for the next document.

Project Statement

(up to five pages)


(up to three pages)


Title: Hollywood And The U.S. Intelligence Community: Typical Images.
Author: Jorge Luis Villacorta Santamato
a. Description of the Project.
The movies are entertainment and propaganda because they contribute to spread the ideals of freedom around the world. The U.S. Intelligence Community (IC) was created on December 4, 1981. This project intends to create a visual history of how the member organizations of the IC have been depicted in the American mainstream movies: their headquarters, offices, tools, employees, activities and foes. Even though some explanations will be given as text to understand the context, this book pretends to be a visual reference for further study.
b. Objective and Methodology.
b.1. Objective: To select typical images about the Intelligence Community (IC) from the most representative American motion pictures since the creation of the IC.
b.1. Through the analysis of the literature created by scholars, the categories used by the members of the American film industry, the practices of the member organizations of the U.S. Intelligence Community (IC), the tastes of the audiences, and pertinent movies, one main concept will be created: “typical image of the IC in an American mainstream movie”.
b.2. This concept will be transformed into a very conscious operational defintion that will guide the selection of movies, still images from those movies, and the textual descriptions of both of them, movies and still images.
b.3. The visual material selected will be organized and presented in such a didactic way that the content of the concept “typical image of the IC in an American mainstream movie” will be easily grasped by the readers.
c. Academic or Professional Context.
While there are many studies about the members of the U.S. Intelligence Community (IC) and their relations to the American film industry, those scholar works emphasize historical descriptions and the interpretation of documents, and film narratives. For example, excellent studies like those of Lawrence H. Suid (“Guts and Glory: The Making of the Military Image in Film”, “Sailing on the Silver Screen: Hollywood and the U.S. Navy”, “Stars and Stripes on Screen: A Comprenhensive Guide To Portrayals of American Military on Film”) do not focus exclusively on the agency that belongs to the IC (Office of Naval Intelligence, Intelligence and Security Command) but on the parent agency (United States Navy, United States Army). Also, even though these books are illustrated, do not give primary importance to the visual aspect on the intended period of our study. The same happens with books like “The FBI and the Movies: A History of the Bureau on Screen and Behind the Scenes on Hollywood” by Bob Herzberg, which is a historical acount from the 1930s to the 1960s or “J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood’s Cold War” by John Sbardellah which focuses on the post-war period 1942-1958 and provides a new consideration of the Red Scare. Research about the Central Intelligence Agency and Hollywood explore their relation at different levels but the visual aspect is outside the interests of investigation. Among these works we have “The CIA in Hollywood: How the Agency Shapes Film and Television” by Tricia Jenkins; “Hollywood and the CIA: Cinema, Defense and Subversion” by Oliver Boyd Barret, David Herrera, and James A. Baumann; “In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1939-1979” by Simon Willmetts; and “Spooked: How the CIA Manipulates the Media and Hoodwinks Hollywood” by Nicholas Schou. There are other studies related to the subject that also have the tendency to describe procedures and events without giving priority to the images: “Operation Hollywood: How the Pentagon Shapes and Censors the Movies” by David L. Robb; “Hearts and Mines: The US Empire’s Culture Industry” by Tanner Mirrlees; or “The Cultural Cold War: The CIA and the World of Arts and Letters”. All these studies (and many more) as interesting as they are follow a totally different approach to the subject than my project. Even those studies that should consider the importance of the emotional power of images choose literary explanations and exposition of data. For example the following three book, that can be a reference to identify movies that show enemies of the IC, favor the printed word instead than the image: “Reel Bad Arabs: How Hollywood Vilifies a People” and “Guilty: Hollywood’s Verdict on Arabs after 9/11” by Jack G. Shaheen; and “”Evil” Arabs in American Popular Film: Orientalist Fear” by Tim Jon Semmerling. So, it is evident that my proposal is original.
d. Film industry subjects or ideas in the project that have been underrepresented in the canon of film scholarship to date.
Contemporary film scholars seem to forget that the movies are an audiovisual medium and that the images shown and the sounds heard are socially built and consumed. The pleasure and excitement that these narratives generate depend on complex combinations of social factors that condition their potential to create satisfaction. Looking for “typical images” of the U.S. Intelligence Community in Hollywood movies we will understand what is not considered “typical,” why the image would classify as “typical” due to its components and in what context. This way we will have to challenge our own acceptance of what we watch and, at some point, become conscious again of the fact that the movie imagery is an illusion that we share willingly or unknowingly. This heighten consciousness is a key component in this project. It is important at a time when an image pretends to be a fact and not a conventional representation. To understand this phenomenon we should try to answer questions like: what was the typical XVI century representation of The Devil by the Catholic Church? The images of the Moon landings were believable because they were televised? Why a few people perceived the Moon landings as fake after a few decades? These questions force us to examine the conditions of production and reception of the messages and to see them as human products, more as suggestions than as facts.
e. The project’s significance in its field of study.
In the areas of the visual arts and the sociology of film this project will allow us to understand the characteristic of the visual ideology created by the American mainstream movies in relation to the U.S. Intelligence Community (IC). While an institution like the Catholic Church has had centuries to define visually its leaders, its militants and heroes, its foes and friends, its spiritual or corporeal battles, and design the look of its buildings, offices, and headquarters, the IC is only three decades old but it is supported by an extraordinary propaganda machine: the cinema. Bertrand Russell stated that Hollywood was creating a new religion. So, the project I propose will help to perceive as a whole the visual mythology that this institution, the IC, is creating with the support of the film industry. We will look at it with the distance of researchers who are interested in this work in progress.
f. How my professional experience is relevant to the project.
As the curator of The Leonidas Zegarra Museum and the personal film critic of the Peruvian anti-communist filmmaker Leonidas Zegarra I am very interested in understanding the processes that transform objects and images into icons. Also, as a professor who teaches research courses for communications students at the undergraduate level I pay attention to the clear delimitation of the subjects of investigation and to appropriate research procedures. Having performed in front of the camera as an actor in the movie “María y los niños pobres” (2010) and behind it as assistant director in the same movie (and editor), I am aware of the ingenuity and technicality that the creation of movie images demand. Loving comic books and drawing and inking them from time to time for fun or in order to participate in contests is a helpful combination when it is time to see and analyze images.
g. The project’s significance to my own professional development.
As a museum curator this study might provide me with new strategies to contribute to the reputation of The Leonidas Zegarra Museum. Mr. Zegarra wants his museum to become a center of dissemination of anti-communist ideology around Peru. So, learning how the institutions that promote and protect freedom present themselves would be very productive.
As a scholar interested in communication studies and the history of art this project would give me with information relevant in both areas. The publishing of this book would be an invaluable sample of my research interests, specially when applying for a job in an American university. Right now, I teach in a Peruvian university but, I would like to have the experience of teaching in an American university someday.
As an artist who expresses himself in visual and audiovisual formats the analysis of the subject would help me to be more creative or, at least, to take novel risks. A thorough understanding of what is being made at this time allows innovation. I want to self-publish a graphic novel in the U.S. based on the U.S. Intelligence Community and this research project would be an optimum source of information for the comic book project.
h. Provide a timetable for completing the project.
April – June 2017: Funds arrive.
June – July 2017: Study of the information available and delimitation of the subject.
August 2017: Creation and test of the operational definition.
September – December 2017: Selection of the movies and still images.
January 2018 – March 2018: Organization and description of the material (writing of texts needed).
March 2018 – April 2018: Beginning of the publishing process. The book must be published on May or June 2018.
i. Any grants, residencies or additional resources already available to me. Description of my project and how I intend to use the Academy grant.
I do not have additional resources available to me right now.
I intend to use the Academy grant to finance the free time and obtain the resources that I need to develop the project. I would teach a mininal number of hours. Books, magazines, DVDs and other sources of information has costs that must be paid. Publishing costs will be covered by the Academy grant, too.
Select Bibliography

Title: Hollywood and the U.S. Intelligence Community: Typical Images

Author: Jorge Luis Villacorta Santamato
Alford, Matthew (2010), Reel Power: Hollywood Cinema And American Supremacy, London: Pluto Press.
Bagdikian, Ben H. (2004), The New Media Monopoly, Boston: Beacon Press.
Birkenstein, Jeff, Anna Froula and Karen Randell (2010), Reframing 9/11: Film, Popular Culture And The “War On Terror”, New York: Continuum.
Boyd-Barrett, Oliver, David Herrera and James A. Baumann (2011), Hollywood And The CIA: Cinema, Defense and Subversion, New York: Routledge.
Boggs, Carl and Leslie Thomas Pollard (2006), The Hollywood War Machine: U.S. Militarism And Popular Culture, Boulder, CO: Paradigm Publishers.
Bogle, Lori Lyn (2004), The Pentagon´s Battle For The American Mind: The Early Cold War, Texas: College Station, TX: A&M University Press.
Cull, Nicholas J. (2008), The Cold War And The United States Information Agency: American Propaganda And Public Diplomacy, 1945 – 1989, Cambridge: Cambridge University Press.
Dowbenko, Uri (2004), Hookwinked: Watching Movies With Eyes Wide Open, Pray, MT: Conspiracy Digest.
Doron, Meir and Joseph Gelman (2011), Confidential: The Life Of Secret Spy Turned Hollywood Tycoon Arnon Milchan, New York: Geffen Books.
Fulbright, James William (1970), The Pentagon Propaganda Machine, New York: Liveright.
Graham, Robbie (2015), Silver Screen Saucers: Sorting Fact From Fantasy In Hollywood’s UFO Movies, Hove, United Kingdom: White Crow Books.
Herzberg, Bob (2007), The FBI and the Movies: A History of the Bureau on Screen and Behind the Scenes on Hollywood, Jefferson, N.C.: McFarland & Co.
Hoffman II, Michael A. (2001), Secret Societies And Psychological Warfare, Coeur d’Alene, ID: Independent History And Research.
Jenkins, Tricia Anne (2012), The CIA In Hollywood: How The Agency Shapes Film And Television, Austin, TX: University of Texas Press.
Leab, Daniel J. (2007), Orwell Subverted: The CIA And The Filming Of Animal Farm, University Park, PA: Pennsylvania State University Press.
Mirrlees, Tanner. (2016), Harts and Mines: The US Empire’s Culture Industry, Vancouver: UBC Press.
Osborne, Bob, (1990), Propaganda Tool: The Hollywood War Movie And Its Usurpation By TV, Pennsylvania: U.S. Army War College
Osgood, Kenneth (2006), Total Cold War: Eisenhower´s Secret Propaganda Battle At Home And Abroad, Lawrence, KS: University Press of Kansas.
Richelson T., Jeffrey (1999), The U.S. Intelligence Community, Boulder CO: Westview Press.
Robb, David L. (2004), Operation Hollywood: How The Pentagon Shapes And Censors The Movies, New York: Prometheus Books.
Saunders, Frances Stonor (2001), The Cultural Cold War: The CIA And The Worlds Of Arts And Letters, New York: The New Press.
Sbardellatti, John (2012), J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood’s Cold War, Ithaca, NY: Cornell University Press.
Schou, Nicholas (2003), Spooking The News: How The CIA Manipulates The Media And Hoodwinks Hollywood, Unknown place of publishing: Hot Books.
Segrave, Kerry (1997), American Films Abroad: Hollywood´s Domination Of The World´s Movie Screens From The 1890s To The Present, Jefferson, NC: Mcfarland & Co Inc Pub.
Semmerling, Tim Jon, “Evil” Arabs in American Popular Film: Orientalist Fear, Austin, TX: University of Texas Press.
Shaw, Tony (2007), Hollywood´s Cold War, Amherst, MA: University of Massachusetts Press.
Shaheen, Jack G. (2008), Guilty: Hollywood’s Verdict on Arabs after 9/11, Northampton, MA: Olive Branch Press.
Shaheen, Jack G. (2009), Reel Bad Arabs: How Hollywood Vilifies a People, Northampton, MA: Olive Branch Press.
Simpson, Christopher ed. (1996), Science Of Coercion: Communication Research And Psychological Warfare, 1945-1960, Oxford: Oxford University Press.
Stahl, Roger (2009), Militainment, Inc.: War, Media And Popular Culture, New York: Routledge.
Stone, Travis (2015), A Time For Deception: False-Flags, Technology Suppresion, And Deep CIA Secrets, Unknown: CreateSpace Independent Publishing Platform.
Suid, Lawrence H. (2002), Guts And Glory: The Making Of The American Military Image In Film,Lexington, KY: The University Press of Kentucky.
Suid, Lawrence H. (1996), Sailing On The Silver Screen: Hollywood And The U.S. Navy, Annapolis, MD: U.S. Naval Institute Press.
Suid, Lawrence H. (2005), Stars and Stripes on Screen: A Comprenhensive Guide To Portrayals of American Military on Film, Lanham, MD: The Scarecrow Press.
Trumpbour, John (2002), Selling Hollywood To The World: U.S. And European Struggles For Mastery Of The Global Film Industry, 1920 – 1950, Cambridge: Cambridge University Press.
United States, Joint Chiefs of Staff (2010), JP 3-13.2 Psychological Operations, Washington, DC: Joint Chiefs of Staff.
Valantin, Jean-Michel (2005),Hollywood, The Pentagon And Washington: The Movies And National Security From World War II To The Present Day, :Anthem Press.
Willmets, Simon (2016), In Secrecy’s Shadow: The OSS And CIA In Hollywood Cinema 1941-1979, Edinburgh, UK: Edinburgh University Press.
Wood, Judy (2009), Where Did The Towers Go?, Los Angeles, CA: Feral House.

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