Joan Mellen – författare

“Joan Mellen tells a brilliantly researched, meticulously supported, and compulsively readable tale that everyone concerned with how America operates should know.” —Samuel R. Delany, author of Dhalgren and Through the Valley of the Nest of SpidersThis completely revised and newly updated edition of The Great Game in Cuba uses the backdrop of the Cuban Revolution to examine the CIA’s inner workings during the fifties and sixties. Detailing the agency’s lies and deceits, Mellen paints a vivid behind-the-scenes picture of the CIA in Cuba after the Castro revolution: what it wanted and the lengths it was willing to go to paralyze the opposition to Fidel Castro.The game begins with Robert J. Kleberg, Jr., proprietor of the legendary King Ranch, one of the largest ranches in the world. Kleberg’s messianic ambitions bring him to Cuba, where he establishes a satellite ranch managed by his right-hand man, the James Bond–type character Michael J. P. Malone, who secretly reported to both the FBI and to at least five CIA handlers.From there, the plot thickens as an array of Cubans share never-before-revealed information regarding the agency’s activities in Cuba and its attempts to unseat Castro and install a CIA-friendly figurehead in his place. The mysterious disappearance of Camilo Cienfuegos, a major figure in Castro’s government, is told here for the first time. The agency’s shady dealings with a major US publication are uncovered.A testament to the sheer volume of previously classified and untold information, The Great Game in Cuba is a story the world needs to hear.

Working with thousands of previously unreleased documents and drawing on more than one thousand interviews, with many witnesses speaking out for the first time, Joan Mellen revisits the investigation of New Orleans district attorney Jim Garrison, the only public official to have indicted, in 1969, a suspect in President John F. Kennedy's murder.Garrison began by exposing the contradictions in the Warren Report, which concluded that Lee Harvey Oswald was an unstable pro-Castro Marxist who acted alone in killing Kennedy. A Farewell to Justice reveals that Oswald, no Marxist, was in fact working with both the FBI and the CIA, as well as with U.S. Customs, and that the attempts to sabotage Garrison's investigation reached the highest levels of the U.S. government. Garrison interviewed various individuals involved in the assassination, ranging from Clay Shaw and CIA contract employee David Ferrie to a Marine cohort of Oswald named Kerry Thornley, who at the very least was a Defense Intelligence Agency asset. Garrison's suspects included CIA-sponsored soldiers of fortune enlisted in assassination attempts against Fidel Castro, an anti-Castro Cuban asset, and a young runner for the conspirators, interviewed here for the first time by the author.Building upon Garrison's effort, Mellen uncovers decisive new evidence and clearly establishes the intelligence agencies' roles in both a president's assassination and its cover-up, set in motion well before the actual events of November 22, 1963.

Working with thousands of previously unreleased documents and drawing on more than one thousand interviews, with many witnesses speaking out for the first time, Joan Mellen revisits the investigation of New Orleans district attorney Jim Garrison, the only public official to have indicted, in 1969, a suspect in President John F. Kennedy's murder.Garrison began by exposing the contradictions in the Warren Report, which concluded that Lee Harvey Oswald was an unstable pro-Castro Marxist who acted alone in killing Kennedy. A Farewell to Justice reveals that Oswald, no Marxist, was in fact working with both the FBI and the CIA, as well as with U.S. Customs, and that the attempts to sabotage Garrison's investigation reached the highest levels of the U.S. government. Garrison interviewed various individuals involved in the assassination, ranging from Clay Shaw and CIA contract employee David Ferrie to a Marine cohort of Oswald named Kerry Thornley, who at the very least was a Defense Intelligence Agency asset. Garrison's suspects included CIA-sponsored soldiers of fortune enlisted in assassination attempts against Fidel Castro, an anti-Castro Cuban asset, and a young runner for the conspirators, interviewed here for the first time by the author.Building upon Garrison's effort, Mellen uncovers decisive new evidence and clearly establishes the intelligence agencies' roles in both a president's assassination and its cover-up, set in motion well before the actual events of November 22, 1963.

Working with thousands of previously unreleased documents and drawing on more than one thousand interviews, with many witnesses speaking out for the first time, Joan Mellen revisits the investigation of New Orleans district attorney Jim Garrison, the only public official to have indicted, in 1969, a suspect in President John F. Kennedy's murder.Garrison began by exposing the contradictions in the Warren Report, which concluded that Lee Harvey Oswald was an unstable pro-Castro Marxist who acted alone in killing Kennedy. A Farewell to Justice reveals that Oswald, no Marxist, was in fact working with both the FBI and the CIA, as well as with U.S. Customs, and that the attempts to sabotage Garrison's investigation reached the highest levels of the U.S. government. Garrison interviewed various individuals involved in the assassination, ranging from Clay Shaw and CIA contract employee David Ferrie to a Marine cohort of Oswald named Kerry Thornley, who at the very least was a Defense Intelligence Agency asset. Garrison's suspects included CIA-sponsored soldiers of fortune enlisted in assassination attempts against Fidel Castro, an anti-Castro Cuban asset, and a young runner for the conspirators, interviewed here for the first time by the author.Building upon Garrison's effort, Mellen uncovers decisive new evidence and clearly establishes the intelligence agencies' roles in both a president's assassination and its cover-up, set in motion well before the actual events of November 22, 1963.

Lyndon Johnson and Mac Wallace crossed paths only briefly; but Wallace''s life, especially one violent episode and its intricate aftermath, illuminates the dark side of our 36th president.Perhaps no president has a more ambiguous reputation than LBJ. A brilliant tactician, he maneuvered colleagues and turned bills into law better than anyone. But he was trailed by a legacy of underhanded dealings, from his “stolen” Senate election in 1948 to kickbacks he artfully concealed from deals engineered with Texas wheeler-dealer Billie Sol Estes and defense contractors like his longtime supporter Brown & Root. On the verge of investigation, Johnson was reprieved when he became president upon JFK''s assassination. Among the remaining mysteries has been LBJ''s relationship to Mac Wallace who, in 1951, shot a Texas man having an affair with LBJ''s loose-cannon sister Josefa, also Wallace''s lover. When arrested, Wallace cooly said "I work for Johnson…I need to get back to Washington." Charged with murder, he was overnight defended by LBJ''s powerful lawyer John Cofer, and though convicted, amazingly received a suspended sentence. He then got high-security clearance from LBJ friend and defense contractor D.H. Byrd, which the Office of Naval Intelligence tried to revoke for 11 years without success. Using crucial Life magazine and Naval Intelligence files and the unredacted FBI files on Mac Wallace, never before utilized by others, investigative writer Joan Mellen skillfully connects these two disparate Texas lives and lends stark credence to the dark side of Lyndon Johnson that has largely gone unsubstantiated.

Working with thousands of previously unreleased documents and drawing on more than one thousand interviews, with many witnesses speaking out for the first time, Joan Mellen revisits the investigation of New Orleans district attorney Jim Garrison, the only public official to have indicted, in 1969, a suspect in President John F. Kennedy’s murder.Garrison began by exposing the contradictions in the Warren Report, which concluded that Lee Harvey Oswald was an unstable pro-Castro Marxist who acted alone in killing Kennedy. A Farewell to Justice reveals that Oswald, no Marxist, was in fact working with both the FBI and the CIA, as well as with US Customs, and that the attempts to sabotage Garrison’s investigation reached the highest levels of the US government. Garrison’s suspects included CIA-sponsored soldiers of fortune enlisted in assassination attempts against Fidel Castro, an anti-Castro Cuban asset, and a young runner for the conspirators, interviewed here for the first time by the author.Building upon Garrison’s effort, Mellen uncovers decisive new evidence and clearly establishes the intelligence agencies’ roles in both a president’s assassination and its cover-up. In this revised edition, to be published in time for the fiftieth anniversary of the president’s assassination, the author reveals new sources and recently uncovered documents confirming in greater detail just how involved the CIA was in the events of November 22, 1963. More than one hundred new pages add critical evidence and information into one of the most significant events in human history.

Presents evidence suggesting collusion between US and Israeli intelligence in the attack on a US naval surveillance vessel during the Six-Day War and the more than fifty-year long cover-up.On June 8, 1967, the USS Liberty, an unarmed intelligence ship reporting to the Joint Chiefs of Staff under the auspices of the National Security Agency, was positioned in international waters off the coast of Egypt when it was attacked with deadly violence by unmarked jet planes firing rockets and machine guns and throwing napalm onto its deck. This ambush was followed by a torpedo strike that blew a forty-foot hole in the starboard side of the ship. Lacking the capacity to defend themselves, thirty-four sailors were killed and 174 wounded, many for life. By the end of the day, Israel had confessed to having been the aggressor, simultaneously arguing that the attack had been an "accident" and a "mistake."The facts said otherwise. So intense and sustained was the attack - it lasted for nearly an hour and a half - so specific was the aiming for the antennae and satellite dish on deck, that it was scarcely credible that Israel's aggression was not deliberate; such was the view of Marshall Carter, the director of the National Security Agency, his deputy director Louis Tordella, and Richard Helms, the Director of Central Intelligence.Based on interviews with more than forty survivors, knowledgeable political insiders, and Soviet archives of the period, investigative writer Joan Mellen presents evidence suggesting complicity between US and Israeli intelligence in the attack on Liberty and the more than fifty-year long cover-up. What were the underlying motives? Was this a false flag operation conducted in the midst of the Six-Day War? Was it conceivable that Israel would have initiated such an operation without a green light from the United States?For the sake of justice, truth and the murdered and surviving sailors, this is a story demanding to be told.

In this work, Joan Mellen analyses ''In the Realm of the Senses'', the controversial film which caused a sensation at the 1976 Cannes Film Festival.Joan Mellen is Professor of English and Creative Writing at Temple University and author of Seven Samurai (BFI, 2002).

In this work, Joan Mellen analyses ''In the Realm of the Senses'', the controversial film which caused a sensation at the 1976 Cannes Film Festival.Joan Mellen is Professor of English and Creative Writing at Temple University and author of Seven Samurai (BFI, 2002).

Modern Times was Charlie Chaplin''s last full-length silent film. The author situates ''Modern Times'' within the context of Chaplin''s life work, exploring its history and influences. She explores how the film''s themes of oppression, industrialization and dehumanization are embodied in the little tramp''s struggle to survive in the modern world.

Modern Times was Charlie Chaplin''s last full-length silent film. The author situates ''Modern Times'' within the context of Chaplin''s life work, exploring its history and influences. She explores how the film''s themes of oppression, industrialization and dehumanization are embodied in the little tramp''s struggle to survive in the modern world.

In the film ''Seven Samurai'' (1954) a whole society is on the verge of irrevocable change. Many people consider this film a major achievemnet in Japanese cinema, an epic that evokes the cultural upheaval brought on by the collapse of Japanese militarism in the 16th century, echoing the sweeping changes occuring in the aftermath of the American occupation. The plot is deceptively simple. A village of farmers is beset by a horde of bandits, and in desperation the village hire itinerant samurai to protect their crops and their village. In the end the samurai see off the bandits. Together the samurai reflect the ideals and values of a noble class near the point of extinction. The film may be a technical masterpiece, and despite its movement and violence it appears to be a lament for a lost nobility. In this book Mellen contextualizes ''Seven Samurai'', marking its place in Japanese cinema, and in director, Akira Kurosawa''s career. Mellen explores the film''s roots in mediaeval history and the film''s visual language.

In the film ''Seven Samurai'' (1954) a whole society is on the verge of irrevocable change. Many people consider this film a major achievemnet in Japanese cinema, an epic that evokes the cultural upheaval brought on by the collapse of Japanese militarism in the 16th century, echoing the sweeping changes occuring in the aftermath of the American occupation. The plot is deceptively simple. A village of farmers is beset by a horde of bandits, and in desperation the village hire itinerant samurai to protect their crops and their village. In the end the samurai see off the bandits. Together the samurai reflect the ideals and values of a noble class near the point of extinction. The film may be a technical masterpiece, and despite its movement and violence it appears to be a lament for a lost nobility. In this book Mellen contextualizes ''Seven Samurai'', marking its place in Japanese cinema, and in director, Akira Kurosawa''s career. Mellen explores the film''s roots in mediaeval history and the film''s visual language.

In Seven Samurai (1954) a whole society is on the verge of irrevocable change. Akira Kurosawa’s celebrated film, regarded by many to be the major achievement of Japanese cinema, is an epic that evokes the cultural upheavalbrought on by the collapse of Japanese militarism in the 16th century, but at the same time echoes also the sweeping cultural changes occurring in the aftermath of the American Occupation that followed Japan's defeat in the Second World War.The plot is deceptively simple. A village of farmers is beleaguered by a horde of bandits. In desperation, the farmers decide to hire itinerant samurai to protect their crops and people and defeat the bandits. There had never been a Japanese film in which peasants hired samurai, or an evocation of the social transformation that made such an idea credible.There are six samurai and one who is accepted as such. Together they reflect the ideals and values of a noble class near the point of extinction. Seven Samurai may be the greatest action film, a technical masterpiece unmatched in its depiction of movement and violence, but running beneath the sound and fury is a lament for a lost nobility, ‘a dirge for the spirit of Japan,’ writes Joan Mellen, ‘which will never again be so strong.’Mellen's study contextualises Seven Samurai, marking its place in Japanese cinema and in Kurosawa’s film-making career. She explores the film’s roots in medieval history and, above all, the astonishing visual language in which Kurosawa created his elegiac epic.

In Seven Samurai (1954) a whole society is on the verge of irrevocable change. Akira Kurosawa''s celebrated film, regarded by many to be the major achievement of Japanese cinema, is an epic that evokes the cultural upheavalbrought on by the collapse of Japanese militarism in the 16th century, but at the same time echoes also the sweeping cultural changes occurring in the aftermath of the American Occupation that followed Japan''s defeat in the Second World War.The plot is deceptively simple. A village of farmers is beleaguered by a horde of bandits. In desperation, the farmers decide to hire itinerant samurai to protect their crops and people and defeat the bandits. There had never been a Japanese film in which peasants hired samurai, or an evocation of the social transformation that made such an idea credible.There are six samurai and one who is accepted as such. Together they reflect the ideals and values of a noble class near the point of extinction. Seven Samurai may be the greatest action film, a technical masterpiece unmatched in its depiction of movement and violence, but running beneath the sound and fury is a lament for a lost nobility, ''a dirge for the spirit of Japan,'' writes Joan Mellen, ''which will never again be so strong.''Mellen''s study contextualises Seven Samurai, marking its place in Japanese cinema and in Kurosawa''s film-making career. She explores the film''s roots in medieval history and, above all, the astonishing visual language in which Kurosawa created his elegiac epic.

In Seven Samurai (1954) a whole society is on the verge of irrevocable change. Akira Kurosawa''s celebrated film, regarded by many to be the major achievement of Japanese cinema, is an epic that evokes the cultural upheavalbrought on by the collapse of Japanese militarism in the 16th century, but at the same time echoes also the sweeping cultural changes occurring in the aftermath of the American Occupation that followed Japan''s defeat in the Second World War.The plot is deceptively simple. A village of farmers is beleaguered by a horde of bandits. In desperation, the farmers decide to hire itinerant samurai to protect their crops and people and defeat the bandits. There had never been a Japanese film in which peasants hired samurai, or an evocation of the social transformation that made such an idea credible.There are six samurai and one who is accepted as such. Together they reflect the ideals and values of a noble class near the point of extinction. Seven Samurai may be the greatest action film, a technical masterpiece unmatched in its depiction of movement and violence, but running beneath the sound and fury is a lament for a lost nobility, ''a dirge for the spirit of Japan,'' writes Joan Mellen, ''which will never again be so strong.''Mellen''s study contextualises Seven Samurai, marking its place in Japanese cinema and in Kurosawa''s film-making career. She explores the film''s roots in medieval history and, above all, the astonishing visual language in which Kurosawa created his elegiac epic.