Barris, Alex. . Stop the presses! : The newspaperman in American films / Alex Barris. [049801603X : ] South Brunswick : A. S. Barnes, c1976.
Call#: PN1995.9.J6 B3 1976

    

    Stop the Presses! is an in-depth discussion of the portrayal of journalists in American movies. Barris writes that newspapermen have been Villains, Scandalmongers, and Human Beings. Most relevant to All the Presidents Men, Barris writes about journalists as Crusaders to expose social evils. Films about the journalist as a crusader, Barris argues, are a type of "message film" that serve to contradict the charge that Hollywood only ever makes "beach-party musicals and mock-horror Vincent Price movies." Frank Capra's It Happened One Night involves mother who creates her own newspaper in order to get out the truth of what is happening in Washington. This movie, like All the President's Men, stresses the role of journalist as a tireless upholder of the truth and the peoples' right to know as well as the importance of a free press. The message, in both films, is convincing because of the heroicism and single-mindedness of the characters.
    Another example of a famous crusading journalist is Gregory Peck's character in Gentlemen's Agreement. Peck's character pursued a story revealing the ugliness of anti-Semitism in post-war America by pretending to be Jewish. He pressed on despite the adverse affect it had on his professional and personal life, and ultimately writes an admired story. Somewhat similarly, Woodward and Bernstein press on despite ambiguous threats and warnings of immanent danger from Deep Throat. Barris mostly focuses on films from the 1950's in this section of the book. He states that the 50's was a hay day of journalist crusader films partially because the House Un-American Activities Committee was threatening the free speech of filmmakers all the time, and because they didn't seem to care as much about truth as about carrying out a paranoid witch hunt. They had "descended on the movie industry like a vigilante mob." It is likely that Hollywood writers felt victimized and that portraying of journalists as idealized heroes, and sometimes even martyrs, was a way to express their discontent about the rights and values that they felt were being suppressed by the Black List.
    

 

Hollywood's White House : the American presidency in film and history / edited by Peter C. Rollins and John E. O'Connor. [0813122708 (Cloth : alk. paper) ] Lexington : University Press of Kentucky, c2003.
Call#: Van Pelt Library PN1995.9.U64 H65 2003

 

    The chapter on The Transformed Presidency: The Real Presidency and Hollywood’s Reel Presidency studies the transformation that the job and the image of commander-in-chief has undergone.  Levine spends a few pages discussing the transformation of the presidency in reality. A major change between the terms of Franklin D. Roosevelt and the present has occurred in the relationship of the president and the press. FDR was the first president to appoint a press secretary; today there are a slew of assistants, liaisons, writers, and spokespersons who, on many occasions, deal with the press in place of the president himself.  All the President’s Men is a “testament to the change in White House-press relations,” Levine states. By attributing the “cracking” of the Watergate scandal to two journalists, the film inspired a new generation of investigative reporting. One reason that Woodward and Bernstein appear so heroic in the film is because they persist “despite the lies and the disinformation fed by the official White House press machine.” By the time Nixon was in office, the post of press secretary had evolved into a fleet of employees comprising a “press machine.”
    Like Cameron, Sorlin, and Toplin, Myron Levine brings up the fact that the film belittles the contributions of people other than Woodward and Bernstein to bringing some members of the Nixon administration to justice. However, Levine states, Woodward and Bernstein played an extremely important role in maintaining pressure on other investigators and government bodies to act against corruption. The author also points out that the editor of the Washington Post, Benjamin Bradlee (portrayed in the film by Jason Robards) was extremely careful about publishing only substantiated allegations. Levine believes that this journalistic standard has also changed over time. He finds it unfortunate that, as a result of the near instantaneous speed with which news gets to today’s readers, media outlets no longer seem concerned with confirming the facts before print. Ultimately, All the President’s Men reflects the backlash against the modern White House’s attempt to strictly control the flow of information about the president and his administration.