This gripping and heartbreaking narrative is the first full account of an American woman who gave her life in the struggle against the Nazi regime. As members of a key resistance group, Mildred Harnack and her husband, Arvid, assisted in the escape of German Jews and political dissidents, and for years provided vital economic and military intelligence to both Washington and Moscow. But in 1942, following a Soviet blunder, the Gestapo arrested, tortured, and tried some four score members of the Harnacks' group, which the Nazis dubbed the Red Orchestra. Mildred Fish-Harnack was guillotined in Berlin on February 16, 1943, on the personal instruction of Adolf Hitler--she was the only American woman to be executed as an underground conspirator during World War II. Yet as the war ended and the Cold War began, her courage, idealism, and self-sacrifice went largely unacknowledged in America and the democratic West, and were distorted and sanitized in the Communist East. Only now, with the opening of long-sealed archives from Germany, the KGB, the CIA, and the FBI, can the full story be told. In this superbly told life of an unjustly forgotten woman, Shareen Blair Brysac depicts the human side of a controversial resistance group that for too long has been portrayed as merely a Soviet espionage network.

From references to secret agents in The Art of War in 400 B.C.E. to the Bush administration's ongoing War on Terrorism, espionage has always been an essential part of state security policies. This illustrated encyclopedia traces the fascinating stories of spies, intelligence, and counterintelligence throughout history, both internationally and in the United States. Written specifically for students and general readers by scholars, former intelligence officers, and other experts, Encyclopedia of Intelligence and Counterintelligence provides a unique background perspective for viewing history and current events. In easy-to-understand, non-technical language, it explains how espionage works as a function of national policy; traces the roots of national security; profiles key intelligence leaders, agents, and double-agents; discusses intelligence concepts and techniques; and profiles the security organizations and intelligence history and policies of nations around the world. As a special feature, the set also includes forewords by former CIA Director Robert M. Gates and former KGB Major General Oleg Kalugin that help clarify the evolution of intelligence and counterintelligence and their crucial roles in world affairs today.

I could have been a contender, I could have been somebody.' So speaks the haunted former boxer Terry Malloy (Marlon Brando) to his brother Charley (Rod Steiger) in a scene from On the Waterfront (Elia Kazan, 1954) that is one of the most famous in all cinema. Set among unionised New York longshoremen, Kazan's film (from a screenplay by Budd Schulberg) recounts Terry's struggle against corruption and his ultimate, hard-won victory. The marvellous performances of Brando, Steiger and Eva Marie Saint (as well as Karl Malden and Lee J. Cobb), Boris Kaufman's photography and Leonard Bernstein's score all justify the film's fame. But On the Waterfront is also notorious, regarded by many as an attempt at justifying the decision on the part of Kazan (and Schulberg) to name names before the House UnAmerican Activities Committee. That controversial decision is still incendiary today (as was evidenced in the furore that surrounded Kazan's Academy Award for Lifetime Achievement in 1999). With Kazan's death in 2003 and Brando's in 2004, a reappraisalof On the Waterfront is timely and necessary. In this definitive study, Leo Braudy tells the complicated story of the film's production. He revisits the facts behind the controversy of Kazan's testimony but, above all, he analyses the elements which contribute to the enduring appeal of On the Waterfront: the Method-inspired acting, the music and cinematography, the use of authentic locations and its powerfully symbolic depiction of post-war American values.

The Venona Secretspresents one of the last great, untold stories of World War II and the Cold War. In 1995, secret Soviet cable traffic from the 1940s that the United States intercepted and eventually decrypted finally became available to American historians. Now, after spending more than five years researching all the available evidence, espionage experts Herbert Romerstein and Eric Breindel reveal the full, shocking story of the days when Soviet spies ran their fingers through America's atomic-age secrets. Included in The Venona Secrets are the details of the spying activities that reached from Harry Hopkins in Franklin Roosevelt s White House to Alger Hiss in the State Department to Harry Dexter White in the Treasury. More than that, The Venona Secrets exposes: • Information that links Albert Einstein to Soviet intelligence and conclusive evidence showing that J. Robert Oppenheimer gave Moscow our atomic secrets. • How Soviet espionage reached its height when the United States and the Soviet Union were supposedly allies in World War II. • The previously unsuspected vast network of Soviet spies in America. • How the Venona documents confirm the controversial revelations made in the 1940s by former Soviet agents Whittaker Chambers and Elizabeth Bentley. • The role of the American Communist Party in supporting and directing Soviet agents. • How Stalin s paranoia had him target Jews (code-named Rats ) and Trotskyites even after Trotsky’s death. • How the Soviets penetrated America’s own intelligence services. The Venona Secrets is a masterful compendium of spy versus spy that puts the Venona transcripts in context with secret FBI reports, congressional investigations, and documents recently uncovered in the former Soviet archives. Romerstein and Breindel cast a spotlight on one of the most shadowy episodes in recent American history - a past when by our very own government officials, whether wittingly or unwittingly, shielded treason infected Washington and Soviet agents.

Vasily Zarubin ranked as an important Soviet intelligence officer, but he has received little recognition in the history of intelligence in the United States. In Rezident, author Robert K. Baker, who worked with foreign counterintelligence matters for the FBI during a thirty-three-year career, presents the first English language biography of Zarubin, Stalins principal intelligence officer in this country during World War II. Rezident recounts the exploits of Zarubins work with Soviet intelligence during the twentieth century narrating how his odyssey extended from the Soviet Far East during the early years of Soviet Russia to deep cover assignments with his wife, Elizaveta, in France, Nazi Germany, and the United States. After Germany invaded the Soviet Union, Stalin appointed Zarubin as his intelligence emissary to the United States to gather political, military, and technological information. Zarubin was successful in providing valuable information to the Soviet Union during the war years. This biography of Zarubins life and times provides a greater appreciation and understanding of the role of the security and intelligence services in the sphere of national security.

Composer, conductor, activist, and icon of twentieth-century America, Leonard Bernstein (1918-90) had a rich association with Washington, DC. Although he never lived there, the U.S. capital was the site of some of the most important moments in his life and work, as he engaged with the nation's struggles and triumphs. By examining Bernstein through the lens of DC, this book offers new insights into his life and music from the 1940s through the 1980s, including his role in building DC's artistic landscape, his political-diplomatic aims, his works that received premieres and other early performances in DC, and his relationships with the nation's liberal and conservative political elites. The collection also contributes new perspectives on twentieth-century American history, government, and culture, helping to elucidate the political function of music in American democracy. The essays in Leonard Bernstein and Washington, DC, all newly written by leading authorities, situate this important American cultural figure in the seat of United States government. The result is a fresh new angle on Leonard Bernstein, American politics, and American culture in the second half of the twentieth century. Daniel Abraham is Professor of Music at American University, Alicia Kopfstein-Penk is Adjunct Professorial Lecturer at American University, and Andrew H. Weaver is Professor of Musicology at The Catholic University of America.

This true story of Golden Age Hollywood and Cold War espionage is a “captivating, fast-paced narrative [that] reads like a thriller” (Library Journal). Boris Morros was a major figure in the 1930s and ’40s. The head of music at Paramount, nominated for Academy Awards, he then went on to produce his own films with Laurel and Hardy, Fred Astaire, Henry Fonda, and others. But as J. Edgar Hoover would discover, these successes were a cover for one of the most incredible espionage tales in the history of the Cold War—Boris Morros also worked for Russian intelligence. Morros’s assignments took him to the White House, the Vatican, and deep behind the Iron Curtain. The high-level intel he provided the KGB included military secrets and compromising information on prominent Americans: his friends. But in 1947, Morros flipped. At the height of the McCarthy era, he played a leading role in a deadly tale. Jonathan Gill’s Hollywood Double Agent is an extraordinary story about Russian spies at the heart of American culture and politics, and one man caught in the middle of the Cold War. “Well-written and perceptive . . . Morros was an empty vessel who could be turned left or right depending on how it satisfied his personal interest.” —New York Journal of Books “Reads like an espionage thriller . . . with malevolent, powerful—and sometimes bumbling—characters.” —Kirkus Reviews “A fascinating and swift-reading biography.” —The Wall Street Journal

"Surround sound is often mistaken as a relatively new phenomenon in cinemas, one that emerged in the 1970s with the arrival of Dolby. Making Stereo Fit shows how Hollywood studios have instead been implementing surround-sound techniques for the past century and argues that their endurance owes primarily to the long-standing economic tension between stereophonic and monophonic sound. Throughout the book, Eric Dienstfrey analyzes newly discovered archival materials, as well as a myriad of stereo releases from Hell's Angels (1930) to Get Out (2017), to examine how Hollywood's dependence on single-channel sound left filmmakers unable to fully realize the aesthetic potential of surround sound. Though studios initially experimented with stereo's unique affordances, Dienstfrey details how film sound designers eventually codified a conservative set of surround-sound conventions that prevail today, despite the arrival of more immersive technologies"--

Film and cinema.