Since its inception, Hollywood cinema has become an efficient tool for "Americanizing" or simply transmitting the values of the American way of life.
The US special services and Hollywood always work side by side to consolidate the narratives needed by political actors. On the other hand, no other industry surpasses the great dream factory in its efforts to colonize minds.
During the 1930s, Hollywood produced a significant number of films dealing with labor and social issues, approached in a progressive spirit.
An example of this production is Modern Times (1936), by Charles Chaplin, which crudely but humorously exposed the current situation of crisis and unemployment.
This close relationship between the government and the film industry would never be forgotten, much less when it is necessary to launch an optimistic and hopeful message to the masses, or when it is necessary to build up or discredit an enemy.
The excellent productions of Frank Russell Capra, author of the film What a Wonderful Life! (1946), among others, were intended to demonstrate that, despite the problems, the American capitalist system was the best and that American values always triumphed in the end. It was said that he knew how to indoctrinate very effectively.
After World War II, Hollywood enthusiastically aligned itself with the anti-communist campaign. The film cycle began in 1947 with an emblematic title: William Wellman's The Iron Curtain.
It is well known that, after September 11, then US President George W. Bush, accompanied by Dick Cheney and Carl Root, met with the president of the Motion Picture Association of America, Jack Valenti, in Hollywood, with the aim of getting the cinema to reflect a positive image of the actions of the war "against terrorism" in which the country was involved.
Years later, after the war in Iraq was over, Washington needed to rebuild its "lost credibility", especially in the face of the revelations of the Abu Graib crimes, the Fallujah massacre and the inhumane actions in Afghanistan
"The entertainment industry again came to the rescue, especially in the wake of the revelations of the Abu Graib crimes, the Fallujah massacre and the inhumane actions in Afghanistan involving U.S. soldiers.
The entertainment industry once again came to their aid. Series such as 24 Hours, The Last Ship, etc. were born from this collaboration.
The unreal world manufactured in the movie studios of the early days, or in the multi-screen mecca of these days, is for many the only source of information about what is happening in the world. They build the right narrative for the great masses of consumers, conditioned, from the cradle, to believe every image and every speech of their fictional heroes.
