The result is an entertainment culture rigged to produce relatively few antiwar movies and dozens of blockbusters that glorify the military. For every “Hurt Locker” — a successful and critical war film made without Pentagon assistance — American moviegoers get a flood of pro-war agitprop, from “Armageddon,” to “Pearl Harbor,” to “Battle Los Angeles” to “X-Men.” And save for filmmakers’ obligatory thank you to the Pentagon in the credits, audiences are rarely aware that they may be watching government-subsidized propaganda.
Until this year, this Top Gun Effect seemed set in stone. But a quarter-century after that hagiographic tribute to the military’s “best of the best,” an odd alignment of partisan interests has prompted some in Congress to question the arrangement.
Rep. Peter T. King (R-N.Y.), who chairs the House Homeland Security Committee, recently sent letters to the CIA and the Defense Department demanding an investigation of the upcoming Bin Laden movie. He criticized the practice of granting ideologically compliant filmmakers access to government property and information that he says should be available to all. The “alleged collaboration belies a desire of transparency in favor of a cinematographic view of history,” he argued.