If political science is the study of politics and the use of political power as it presents itself on the public scene, "Parapolitics" is the study of the use of political power that is not presented on the public scene. This corpus of texts consists of the "Timeline" section of each issue of the electronic journal, Intelligence published in 2006 by the French Association pour le Droit à l'information (ADI). This unique data set of world political and parapolitical headlines has been made available free of charge to all fully-paid Intelligence subscribers.

An examination of the use of modernism in the twentieth-century battle for US hegemony, through the activities of the CIA-funded Congress for Cultural Freedom. Parapolitics confronts the contemporary fate of intellectual autonomy and artistic freedom by revisiting the use of modernism in the twentieth-century battle for US hegemony. It builds on a major exhibition at Haus der Kulturen der Welt (2017–18) that took as its starting point the Congress for Cultural Freedom (CCF)—an organization covertly funded by the Central Intelligence Agency in order to steer the Left away from its remaining commitment to communism. Paying particular attention to CCF activities in the non-European world during a period of decolonization and the Civil Rights Movement, Parapolitics assembles archival documentation from five continents alongside a selection of historical artworks to explore the context in which artists negotiated the framing and meaning of their work. A rich reference book for future researchers and everybody interested in the legacy of modernism, the publication also presents more than thirty newly commissioned contributions by contemporary artists and scholars.

The CIA and its World War II predecessor, the Office of Strategic Services (OSS), were for many years largely populated by members of Ivy League colleges, particularly Yale. In this highly acclaimed book, Robin Winks explores the underlying bonds between the university and the intelligence communities, introducing a fascinating cast of characters that include safe-crackers and experts in Azerbaijani as well as such social luminaries as Paul Mellon, David Bruce, John P. Marquand, Jr., and William Vanderbilt. This edition of the book includes a new preface by Winks. Reviews of the first edition: "One of the best studies of intelligence in recent years."--Edward Jay Epstein, Los Angeles Times Book Review "The most original book yet written on the interpenetration of counter-intelligence and campus."--Andrew Sinclair, Sunday Times (London) "Winks writes a lively compound of analysis and anecdote to illuminate the bonds between academe and the intelligence community. His book is a towering achievement."--Robert W. Smith, Chicago Sun-Times "Among the more important contributions to the history of Anglo-American espionage to appear this or any other year. . . . Moves with an unfolding pace that any thriller writer might envy."--Tom Dowling, San Francisco Examiner "A brilliant book."--Sallie Pisani, Journal of American History

From the Kennedy assassination to 9/11, Thomas examines the underlying parapolitics that animate the secret elites and the war-ravaged planet they manipulate. This volume is a compilation of his lecture remarks, interviews, correspondence and articles printed in the underground press from around the world.

Looking-Glass Wars: Spies on British Screens since 1960 is a detailed historical and critical overview of espionage in British film and television in the important period since 1960. From that date, the British spy screen was transformed under the influence of the tremendous success of James Bond in the cinema (the spy thriller), and of the new-style spy writing of John le Carré and Len Deighton (the espionage story). In the 1960s, there developed a popular cycle of spy thrillers in the cinema and on television. The new study looks in detail at the cycle which in previous work has been largely neglected in favour of the James Bond films. The study also brings new attention to espionage on British television and popular secret agent series such as Spy Trap, Quiller and The Sandbaggers. It also gives attention to the more ‘realistic’ representation of spying in the film and television adaptations of le Carré and Deighton, and other dramas with a more serious intent. In addition, there is wholly original attention given to ‘nostalgic’ spy fictions on screen, adaptations of classic stories of espionage which were popular in the late 1970s and through the 1980s, and to ‘historical’ spy fiction, dramas which treated ‘real’ cases of espionage and their characters, most notably the notorious Cambridge Spies. Detailed attention is also given to the ‘secret state’ thriller, a cycle of paranoid screen dramas in the 1980s which portrayed the intelligence services in a conspiratorial light, best understood as a reaction to excessive official secrecy and anxieties about an unregulated security service. The study is brought up-to-date with an examination of screen espionage in Britain since the end of the Cold War. The approach is empirical and historical. The study examines the production and reception, literary and historical contexts of the films and dramas. It is the first detailed overview of the British spy screen in its crucial period since the 1960s and provides fresh attention to spy films, series and serials never previously considered.