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S O U T H A S IA
R E S E A R C H
www.sagepublications.com
D O I: 10.1177/0262728012453977
Vol. 32(2): 123-138
Copyright © 2012
SAGE Publications
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GLOBALISATION O F PO PU LA R
CU LTU RE: FR O M H O LLY W O O D
T O BO LLY W O O D
Jonathan Matusitz and Pam Payano
N icholson School o f Communication,
University o f C e n tra l F lorida, O rlando , USA
a b s tra c t T his article exam ines significant evidence of
recent
Bollywood influence on the W estern movie industry,
particularly
Hollywood, and explores the implications of such
developments
in the context of globalisation. W ith in the ongoing
globalisation
of entertainm ent, a process th a t does n o t automatically lead
to

cultural W esternisation and uniform isation , Bollywood has
by
now become b o th a symbol of Indian cinema's circulation all
over
the world and the em bodim ent of non-m onolithic
globalisation.
Bollywood is evidently no t a homogenising influence th a t
forces
non-Ind ian cultures to embrace its cinem atographic o r
musical
norm s and practices. Rather, it creates new hybrids. T he
article
offers a framework for explaining the growing cultural and
economic
changes and m ovem ents of such non-hegem onic spreading of
popular culture and identifies future agenda for research.
keywords: Bollywood, culture, diaspora, entertainment, fi lm
stud-
ies, globalisation, Hollywood, India, media studies, movies, U
SA ,
Westernisation
Introduction
W ithin film and media studies as rapidly changing fields, it is
now suggested that ‘in
the media assemblage there can be no privileging of cinema as
original apparatus or
industry' (Rai, 2009: 5), as so-called netizens all over the world
more or less freely access
different forms of media and are affected by them in multiple
ways that researchers
everywhere struggle to follow up. Earlier, Gopalan (2002)
theorised Indian cinema
as a constellation of interruptions, leading Rai (2009: 2) to

argue now that the ‘era
of cinema exhibition is coming to the end of its particular
duration and the shape
of things felt in cinema is reforming'. Indeed, these new
developments now enable
‘deterritorialization of film becoming media, where a dynamic
threshold between text,
media, sensation, and bodies becomes thinkable' (Rai, 2009: 9).
As the film industry itself has become a m ore explicitly global
industry, this
globalising p roduction of en tertainm ent has brought highly
significant m ulti-
dimensional consequences which need to be more deeply
researched from a variety of
angles. The present article examines recent evidence of the
impact of Indian films in
this global context, especially Bollywood's influence on the
Western movie industry,
particularly Hollywood, culminating with the eight-Oscar
winner Slumdog Millionaire
(2008). A major premise of our analysis is that Bollywood has
today become both a
symbol of cinema's circulation w ithin cultural globalisation and
the em bodim ent of
non-m onolithic globalisation. From this perspective, we seek to
make less firm con-
clusions about the impact of Bollywood on Western film
production processes and
specifically on Hollywood, bu t highlight clearly that
globalisation certainly does not
automatically lead to cultural Westernisation. Bollywood
continues to demonstrate

its capacity to oppose this supposedly uniformising trend,
showing that it can itself go
global to affect both a wider global audience and perhaps target
specifically the huge
Indian diaspora (Lakshman, 2009), which is itself becoming
quite visibly a glocalising
agent in many parts of the world.
W hile Bollywood itself has been mainly analysed with regard
to its contested polit-
ics of representation, class and gender (Vasudevan, 2002: 3),
the present exploration
offers a useful wider framework for explaining the growing
cultural and economic
changes and movements specifically in relation to the
globalisation of entertainm ent
and the role of Indian cinema in that context.
An overview of Bollywood's origins and dynamics, basically an
account of how it has
evolved over the years is followed by an explanation of how
Bollywood has established
itself to some extent in the USA by now, though it could be
argued that the evidence
of such success remains quite mixed. Exploring Bollywood's
impact on America, we
also provide recent examples of US—Indian partnerships in the
movie industry. A good
illustration of such collaborations is reflected through some
innovative musical-like
productions blending both US and Indian elements. Notably
these are both Hollywood
and Bollywood productions. A subsequent section explores
specifically the impact of
Bollywood on the Indian diasporas, particularly in the USA,
before we conclude with a

discussion of such hybridising effects and offer some
suggestions for future research.
Bollywood: A Descriptive Overview
Bollywood is the name of the mainstream Indian movie industry
based in M umbai
(Dwyer, 2006) and is first o f all a national centre of Indian film
production, which
also occurs in other major locations in India. Bollywood is in
many ways a culturally
dom inant force in m odern India (Mishra, 2009; Rajadhyaksha,
2009; Rajadhyaksha
and W illemen, 2002). Evidently, it has had huge impact on
various forms of identity
construction at national, regional, local and individual levels.
Film-related media
Downloaded from sar.sagepub.com at PENNSYLVANIA STATE
UNIV on September 16, 2016
have become increasingly im portant in shaping public views
and forming public
consciousness (Henniker, 2010: 26). They are clearly not just
about gossip of vari-
ous kinds and have enormous financial implications, too. In
fact, Indian cinema is
the world's largest film industry, in terms of the num ber of
films produced and people
employed, though no t of its finances (Dwyer, 2006).
Bollywood, w ith an estimated
3.6 billion tickets sold globally in 2001 (compared to
Hollywood's 2 .6 billion), is
arguably one of the world's most prolific cultural clusters

(Kripalani and Grover, 2002;
Lorenzen, 2009). M any Bollywood films make full, explicit use
of song and dance
(see M orcom, 2007), often to describe the actors' journey into
some kind of diasporic
territory. The space of imagination is thus amplified across
many boundaries, including
national borders. The musical num bers also reconstruct this
imagined space across
the divide, utilising visual markers of international topography,
while reorganising
overseas societies in to a chorus for diasporic spectacle (Kao
and D o Rozario, 2008).
A typical film is two-and-a-half hours long, taking its tim e to
unroll storylines of epic
proportions, often involving the breakup and makeup of
extended families. Some six
to eight songs and intricate choreography, in which the actors
themselves participate,
are used to emphasise the story's emotional high points
(Bouman, Devraj and D uncan,
2010; M ooij, 2006).
Bollywood goes back to the beginnings of cinema in India with
D .G . Phalke's Raja
Harishchandra in 1913 (M ishra, 2009). In the 1930s,
Bollywood developed a hand-
ful of studios which by the early 1940s produced around two
third of Bollywood's
150—200 annual films (Barnouw and Krishnaswamy, 1963). By
1931, more than
half of India's film production took place there (Lorenzen,
2009). The Indian movie
industry, once dominated by m om -and-pop shops producing
one or two movies a
year, began to evolve into larger, stronger players releasing a

steady stream of movies
(Bellman and M isquitta, 2009; D udrah, 2009). Soon, film
production and branded
advertising entered new attractive partnerships, while the
traditional mix of Bolly-
wood films with their prom inent song-and-dance sequences was
largely maintained.
In the 1970s, Bollywood was endearingly nicknamed masala
(‘spice mix' in Hindi)
because it combined elements such as romance, drama and
comedy with such song-
and-dance sequences in symbol-driven narratives (Lorenzen,
2009).
The 1990s saw certain production houses associated with
specific styles, especially
the big budget romance shot in exotic locations w ith top stars
(Dwyer, 2006).
Bollywood became a global buzzword during London's ‘Indian
summer' of 2002, when
its image of kitsch, song and dance and melodrama, was used to
market exhibitions,
shops and even occasionally the cinema itself. Indeed,
Bollywood is today the epitome
of the celebration of the uniqueness of Indian cinema with
respect to certain essen-
tial ‘cultural' and performance-related features. O ther prom
inent ingredients include
an all-encompassing m elodram atic m ode, epic structures,
story lines stem m ing
from mythologies and Sanskrit dramaturgy that frequently leads
to happy endings.
Since Indian films appear to Americans like musicals, further
discussions about
genre perceptions on either side of the Atlantic seem warranted.
Bollywood's long

South Asia Research Vol. 32 (2): 123—138
production numbers rival— in the m ind of American viewers—
the Busby Berkeley
extravaganzas of the 1930s as m uch as M TV's heavily
produced music videos (Kao
In India, the Bollywood model attracted an all-Indian public
across various re-
gions and social divides and contributed a lot to the rapid
growth of H indi as a lingua
franca well beyond Indian national boundaries. From a
commercial standpoint, too,
this was highly successful and immediately and dynamically
refined in the decades to
follow. Some doubts may be in order whether the style of
Bollywood films appeals
to mainstream US audiences and whether the current US interest
in Bollywood films
may be mere evidence of a wave of curiosity about new movie
styles. Certainly, the
Bollywood formula embodies an excitement that alludes to an
extraordinarily crea-
tive and commercially attractive vitality while, at the same
time, maintaining a close
relationship w ith their roots as they negotiate transitional
impulses (Sarkar, 2008).
Bollywood is renowned for its vivacious and effervescent
musical sequences and
romantic love affairs, bu t its success seems to reside also in its
aptitude to bind together

disparate viewers, whether located in India or anywhere else on
the globe. O ne m ust in
this context n o t forget or ignore that Bollywood films are
immensely popular all over
Asia and Africa, w ith dubbing in many different languages. In
the Bollywood model,
the lovers on the silver screen often personify universally
experienced clashes between
tradition and modernity, unifying the protagonists in a more or
less romantic finale. The
typical Bollywood ending is predictably happy and often
symbolises wider communal
reconciliation (Nayar, 1997). The great theatrical extravagance
around Bollywood thus
hides, to some extent, the centrepiece of the contemporary
Indian attraction to the
theme of national self-renewal. The publicity and excitement
encapsulate the main
storyline of national fantasy, now w ithin a new global sphere
(Sarkar, 2008).
Bollywood also tends to borrow storylines from profitable
movies produced abroad.
Before the advent of Bollywood, foreign movies used to endure
substantial changes to
adapt to Indian tastes (Lakshman, 2009; Sarkar, 2008). Notably,
numerous Muslim
producers, writers, lyricists and actors have significantly
contributed to popular Indian
cinema and continue to do so (see Chopra, 2007). Although the
language used in
Bollywood movies is a blend of H indi and U rdu (spoken by a
little more than 50
per cent of India's 1.2 billion people), Bollywood's presence and
impact have been
quite dom inant in India and in the Indian diaspora worldwide

(Mishra, 2009) and
have increased the reach of H indi/U rdu as a global lingua
franca. W ith its growing
international effect on movies, music, dance and various forms
of artistic expression,
Bollywood has created its own robust global brand and its own
big business, attracting
colossal investments (Lorenzen, 2009). In this constantly
changing climate, Bollywood
itself perceives at times a crisis, as many ambitious films are
ultimately no t doing well at
the box office. Indian films tend to peak, w ith some major hits
getting into box office
statistics for some time, bu t most films do n o t usually achieve
long-term prominence.
W hile the national picture itself is thus highly disparate, some
more attention to the
international spread of Bollywood films seems warranted.
Bollywood's Introduction to the US
W ith eight Oscars and over $100 million grossed at the box
office, Slumdog Millionaire
is a somewhat unusual bu t perhaps telling case. It was
definitely the m ost successful
Bollywood film that h it the American market, and perhaps
globally as well. Signifi-
cantly, one ingredient in the success of this particular film's
storyline may well have
been its appeal to an audience familiar w ith notions of ‘the
American dream'. Notably,
however, this film did no t do well in India, and there are im
portant reasons for this (see
Banaji, 2010). T he film has been able to bridge cultural gaps

by incorporating all of
the Bollywood elements (poverty, survival, love and trium ph)
and only a small num ber
of songs, satisfying bo th Western and Indian audiences,
though the latter evidently to
a lesser extent. Slumdog Millionaire is a classic Bollywood
flick, right at the heart of
M um bai, India's most vibrant and glittering city of immigrants
(Lakshman, 2009).
T he ‘Bollywood effect' proves its significance through its
mainstreaming of a cultural
production that was historically lim ited to its familial
audiences (Banerjee, 2006).
Despite all the hype about Slumdog Millionaire and its purpose
as a tool to endorse
Bollywood, the spotlight may no t be shining for long, however.
The world recession
has also affected India's movie industry and has thus lim ited, as
indicated, the ability
to finish productions or market the already completed ones
(Steel, 2009).
Meanwhile, the romance between Hollywood and Bollywood has
sparked part-
nerships w ith Reliance Big Entertainm ent, a production
company based in India, as
well as introduced cameos, such as Sylvester Stallone in
Bollywood films (Tim m ons,
2008). It has been observed that nowadays Bollywood is as com
m on w ithin the
U nited States as it is in its hom etow n. Moreover, the internet
facilitates the expansion
of South Asian cultural knowledge, w ith details of various
artistic aspects available by
the hundreds (Nair, 2009). Still, this does no t necessarily mean
that there will be a

wide take-up.1 Moreover, the danger that ‘commodified culture'
advances stereotypes
rather than deepening understanding of ‘the o ther' is ever-
present and is a challenge
that movies alone cannot manage. But movies are no t the only
creative element in
these globalising developments. Recent media reports suggest
cautiously that Indian
cuisine now takes on the N orth American market through
media impact, leading to
questions whether this, too, has the potential to become a mass
market h it in due
course (Kannan, 2012).
Notably, already by the 1990s, Bollywood had somewhat
unintentionally ex-
perienced an increased incom e from the Indian diaspora based
in foreign lands
(Lorenzen, 2009). M arketing executives calculate that the
South Asian population in
the U nited States has been beneficial to this growth. They are
successful and enjoy their
new homes, bu t their small percentage within the U nited States
and spatial segregation
in this huge territory would prom ote a proclivity for virtual
unity through cultural
media. W hile some Indian producers have established
environments w ithin the USA
to oversee distribution, some have chased their dreams of
success more aggressively
(Lakshman, 2009). Bollywood is the leading foreign exporter to
the U S entertainm ent
South Asia Research Vol. 32 (2): 123—138

market, w ith winning films being screened in up to 75 US
cinemas, some earning
in surplus of US$ 1 million in their opening weekend, prom
oting them to the top
20 box office charts.
The transnational introduction of H indi movies has catalysed
aesthetic changes
while simultaneously adopting Westernised visual styles and
leaving no room for
real transgressions or progressive changes (Rao, 2002). In the
realm of global media,
American infotainment remains the leading industry for both
quality and marketability,
raising the standards for efficiency and influence in various
aspects of artistic expression
(Sarkar, 2008).
According to Panchapakesa Subramania Sam inathan, a m
anaging director at
Pyramid Saimira (a South India-based film production and
distribution house), Indian
entertainment companies have to establish themselves outside of
India as well. Pyramid
claims to have over 900 movie theatres with a capacity of
550,000 seats in the USA,
India, Malaysia, Singapore and China. By 2011, with over 2,000
cinemas, Saminathan
anticipates Pyramid's global business to rake in 75 per cent of
revenues, up from
20 per cent presently. Merely relying on the Indian diasporic
audience is no t sufficient,
however. Marketers have to draw on other global markets and
ethnic communities as
well (Lakshman, 2008).

Bollywood's Impact on the US: General Perspectives
Increasingly, Bollywood and Hollywood are now joining forces.
Kylie M inogue, the
Australian singer, made her first Bollywood appearance in Blue
(2009), a movie star-
ring Indian superstar Akshay Kumar. She recorded two songs
for it, including the
title track by A.R. Rahman. Sylvester Stallone appeared in an
Indian film co-starring
Kumar, Kambakkht Ishq (‘Accursed Love'), made in Hollywood
and released in 2009.
Also in early 2009, Warner Bros released the Hollywood-made
Chandni Chowk to
China, a Bollywood-style martial arts movie intended for the
world market, also star-
ring Kumar (Puente, 2009).2 W ill Smith, Tom H anks, Julia
Roberts, George Clooney,
Brad Pitt, Tom Cruise and Bruce Willis are all rum oured to be
cutting deals with
Indian entertainm ent companies. Because Indians comprise the
m ain ethnic group in
the South Asian population, and now that Slumdog Millionaire
has established itself
prominently among worldwide audiences, Hollywood m ight
also increase its efforts
to bank on Indian-themed movies and other East-W est
partnerships (Puente, 2009).
And now Amitabh Bachhan, the grand master among Indian film
stars, will make his
Hollywood debut in December 2012 in a screen adaptation of
The Great Gatsby.3
Undoubtedly, thus, the US success of Slumdog Millionaire has
amplified India's

image and facilitated the mixture of American and South Asian
cultures. In the same
way that the introduction of Salsa in the USA (through the
diffusion of Latino culture)
threatened to dethrone ketchup as the country's top-selling
condiment, Slumdog
Millionaire heralds a time in which more and more Americans
are consuming even spicier
fare (Puente, 2009). U nder the catchy title ‘The New Indo
Chic', Sengupta (1997)
listed a num ber of factors explaining why Americans were
increasingly interested in
Indian literature, art, fashion, music and cinema.4 Major
reasons given were the growth
in South Asian migration to the USA and India's desire to
become a key player in the
global economy, both of which also drive Australians now to
become more interested
in the Indian subcontinent. As Sengupta (1997: 113) notes,
‘Indo chic is n o t limited
to the highbrow'.
Hollywood studios, like 20 th Century Fox and Universal, are
carving ou t stakes
in the M um bai industry, spanning no t only distribution bu t
also the actual financing
of H ind i films (Sarkar, 2008). W ith Oscar-winner Slumdog
Millionaire increasing
the awareness about Bollywood in the USA, marketers are
arranging for promotions
particularly targeted a t Ind ian Am ericans. O n e such exam
ple is Insurer S tate
Farm, which planned a karaoke contest where clients could

upload videos to a website
and allow viewers to vote on two finalists. T he prize was a trip
to India to sing in a
Bollywood film (Steel, 2009). References to Bollywood are no
t lim ited to the media
in that it is now frequently addressed via advertising
campaigns, fashion shows and
even in home decor showings (Hassam, 2007).
Although Bollywood has become a worthy adversary to
Hollywood, it is believed
that Hollywood is better off imitating, rather than trying to
displace, Bollywood
(Giridharadas, 2007). It is imperative that the movies continue
to depict the myths,
conventions and iconography that define Bollywood, even as
Hollywood influences
the fun aspects of the films (Avery-Merfeld, 2009). Developing
a form at in which
Bollywood could be translated to Western audiences is not an
easy task because the
typical happy-ending, parochial formula of Bollywood does not
easily relate to Western
audiences (Lakshman, 2009). However, the increase of
Bollywood in the USA has
built up this Indian influence so m uch that Hollywood's
attempts to enter India's en-
tertainm ent industry have been comparatively feeble, while
Bollywood has been able
to invest heavily in the USA. As of 2008, Bollywood's
company Reliance positioned
a US$500 million investment in Hollywood flagship
Dreamworks (Lorenzen, 2009).
Ultimately, Hollywood producers and investors are finding it
difficult to network
within India.5 Yet, Bollywood corporations now export at an

immense scale to the
USA and to many other booming consumer markets, while also
attaining cinemas
and production companies abroad (Lorenzen, 2009).
Bollywood films habitually have a better box office appeal in
remote locations,
mainly because they appeal to audiences of Indian expatriates
and immigrants. A good
percentage of Indian actors in these movies are immigrants
themselves or are Indian
actors like Steve Buscemi, types cut for playing villains in
mainstream movies. Yet,
they also take pleasure in working for smaller independent
productions where they
have more choices about what role they can play and where they
often get m uch more
screen tim e (Salkin and Hughes, 2008).
Such trends are reinforced by investment policies. India's
Reliance Entertainm ent
has purchased over 200 movie theatres in 28 US cities in search
of global expatriate
communities. Reliance hopes to connect w ith US Bollywood
fans through its US
movie theatres. T he character of the US market offers a great
incentive to Indian film
distributors in their attem pt to directly and efficiently reach a
broad base of Indian
consumers. Acquiring many movie theatres, Reliance's m ost
recent move, is part of
a lofty goal of establishing a fully integrated Indian entertainm
ent conglomerate

(Lakshman, 2008).
As a result, Bollywood distributors methodically supply movie
theatres in the main
diasporic markets and actually far beyond, in many parts of
Asia and Africa. Now,
several Bollywood firms are acquiring cinema chains outside of
India. Com mentators
extolling the virtues of Bollywood have used the Oscar
nomination for Lagaan (in 2002)
as valid grounds for their excitement. This enthusiasm extends
from Amsterdam to
Tokyo. O ther successful Bollywood films include D il Se
(1997), Kabhie Khushi Kabhie
Gham (2001), Kal Ho Na Ho (2004) and Veer Zaara (2005) in
the N orth American
market, often ranked in the Top Ten, based on box-office
records (Sarkar, 2008). Again,
some of these films did n o t do so well at Indian box offices, so
the picture everywhere
is diffuse. In spite of everything, however, profitable Indian
movies frequently gross
higher revenues than Hollywood movies do, and this also holds
true in certain over-
seas markets in Eastern Africa, South-East Asia and the Arab
world (Sarkar, 2008).
Today, in the Western world, especially in the USA, Bollywood
is being consumed
just as m uch as mainstream Western films. W hile video rentals
from ‘ethnic' stores are
growing in numbers, and it has become impossible to m onitor
distribution statistics,
occasional showings in marginal and often run-down theatres
are decreasing. However,
these are indications that rather than declining today,
Bollywood movies are becoming

mainstream (Brosius, 2005; D udrah, 2007) and consumption is
no longer focused
on viewing in cinemas. The impact is thus, probably, m uch
larger than official figures
and statistics suggest.
Bollywood's Impact on the USA: Musical Perspectives
The musical dimension in this respect m ust be factored in.
Contem porary Bollywood
aficionados are well aware that Bollywood films are incomplete
w ithout a musical
number, or indeed several (Avery-Merfeld, 2009). A significant
factor in India's favour
is the huge opportunity for growth of visual media in a nation
where Bollywood
movies are a large vehicle for disseminating music. A typical
Bollywood film blends
spectacle and escapism; the purpose is often to facilitate the
plot lines (Kao and D o
Rozario, 2008).
As Bollywood has enjoyed unparalleled success since the dawn
of the 21st century,
it has been very m uch influenced by M T V (Avery-Merfeld,
2009). For example, the
mingling of hip-hop and bhangra with a simple chorus (‘Singh
is Kinng, Singh is
K inng, Singh is Kinng') is what makes rapper Snoop Dogg
giving ‘what up to all
the ladies hanging out in M um bai' distinctive. H e is also
rapping about ‘Ferraris,
Bugattis and Maseratis' (Timmons, 2008). Singh is Kinng was a
hit in India in 2008.
Ted C hung, president of the Cashmere Agency, a company
based in Los Angeles that

united Snoop Dogg w ith Akshay Kumar to produce the title
track of Singh Is Kinng,
said that Bollywood is attem pting to bridge the chasm between
East and West.
For these reasons, a new musical and innovative synergy
between Western music
and classic Indian music is turning out to be particularly
effective. In the Snoop Dogg
case, the rhythm ic Bhangra genre went well w ith hip-hop.
Another objective is to
introduce each other's culture and show people new things. This
way, they would be
less ignorant or anxious over something they do no t know
(Puente, 2009). In another
example, Cheetah Girls; One World (2008), a connection is
established between Indian
audiences and Western elements to introduce Eastern cultural
ingredients (Keveney,
2008). D oing some research, one can easily identify Indian
songs that sound like
Western pop hits.
O utside of Bollywood, the Indian music industry is one of the
biggest worldwide.
T he Indipop genre lends many Western-sounding pop tracks to
the scene (Avery-
Merfeld, 2009). In 2006, an episode of The Simpsons featured a
Bollywood song
picturisation. The goal was to prove how quickly Bollywood
has been transformed into
a familiar style for the mainstream, predominantly non-South
Asian public (Hassam,

2007). T he soundtrack for Slumdog Millionaire was the best
album on iTunes for
some tim e and climbed from N o. 48 to N o. 22 on the
Billboard chart immediately
after the Oscars ceremony. M any Slumdog fans worldwide,
including Americans, were
buying this soundtrack. In a sense, it is a novel fashion for
people to discover movie
and musical content from India. Thanks to current inform ation
technologies such as
the Internet, access has become m uch easier (Puente, 2009).
In a sim ilar vein one m ust see th e opening in London— an d
only later on
Broadway— of Bombay Dreams, the musical brainchild of
composer A.R. Rahman,
the undeniable master of m odern Indian film music and Andrew
Lloyd-Webber, the
renowned impresario of English-language musicals (Sarkar,
2008). There is no US
counterpart to this collaboration, in which actors, surrounded
by dozens of dancers,
create a new style of musical numbers. In this case, all forms of
expression— acting,
singing and dancing— are integrated and are at the same level.
In most Bollywood
movies, vocals are performed by playback artists while the
actors on screen lip-sync
(Caramanica, 2008).
For decades, Western artists have visited India for inspiration
and new sounds, with
George H arrison perhaps being the most famous example. O n
the other hand, find-
ing a passionate audience in India, a billion-plus population
that is also the youngest

nation worldwide in terms of mean age (Bhattacharya, 2005)
has sometimes been
difficult for m odern artists. Old-style or classic Western pop
music still tops album
charts in India. According to Rolling Stone's July India
edition, the highest-grossing
albums sold in India have included the Eric Clapton
compilation ‘Com plete Clapton',
and Michael Jackson's ‘Thriller' (Tim m ons, 2008).
Central to our analysis o f the Bollywood-Hollywood musical
collaboration is the
formation of ‘imagined space'. This refers to space that is
beyond the parameters of
realism. In imagined space, musical-style productions create an
entirely new, unique
South Asia Research Vol. 32 (2): 1 23-138
space built from basic conventions and developments in
choreography, sound and
cinematography. Imagined space is non-existent in the real
world; it is no t made to
emulate the real world either. Put simply, it is phony space (Kao
From this vantage point, a film becomes an artifice; a
superficial, unrealistic cinematic
variety m ethodically dismissed as ‘sim ple' entertainm ent.
According to Barrios
(1995: 5), films using imagined space are ‘trafficked in dreams
and escapism'. However,
space in which actors merely burst into song and dance, and
streets and countryside
that m orph into unlikely locations for spectacle, are prom inent

features of Bollywood
(Kao and D o Rozario, 2008). T hat they increasingly speak to
global audiences, even
though they are Indian films, requires further analysis into what
attracts and connects
viewers to such products.
Bollywood for the Indian Diaspora in the USA
More easily explained, in such imagined space, Bollywood
affirms itself in the diaspora's
imagination as a present-day phenom enon, no t merely a
traditional one. It is also an
indication of Bollywood's patterns of cultural absorption, taking
something foreign
and emulating it in an Indian fashion (Kao and D o Rozario,
2008). The exploration
of Bollywood as a musical production presents the possibility of
understanding how
its cinematic imagination has created a connection with
audiences in India and among
the Indian diaspora in the USA and elsewhere. This is
particularly pertinent in rela-
tion to debates of Indian diaspora and Bollywood cinema, given
the vivid, exotic and
escapist nature of Bollywood and its escalating consumption by
a globally diverse,
Western-influenced and increasingly mobile Indian diaspora
(Kao and D o Rozario,
2008). The incorporation of contemporary pop/nightclub music
and dancing into
Bollywood productions illustrates an attem pt to display contem
porary India to
diasporic audiences. W hile M ishra (2002: 262) argues that this
integration is ‘as m uch
a response to diasporic demands as it is to a transnational urban

culture w ithin India
itself ', it also helps members of the diaspora to feel proud that
India has arrived on
the global scene and goes well beyond the diasporic realm.
Bollywood's rehabilitated interest and modification in
representation of the diaspora
is linked to India's recent rising economic success. According to
Kaur (2002), a major
part of Bollywood's admirable success amid its progressively
wealthier diaspora is due
to India's greater global presence and economic standing. T he
same is argued for both
the diaspora itself and its Bollywood representation by Kao and
D o Rozario (2008).
M ishra (2006: 3) further suggests that the present reception
reflects the late m odern
entry of India into global capital and the accumulation of vast
amounts of capital in
the hands of diaspora Indians.
Thereby, diasporic expenditure on Bollywood movies becomes
not only a m ethod of
ascertaining community ties and preserving a distinct cultural
identity in foreign lands,
bu t also clearly a reflection of diasporic pride in the
homeland, one which can now
be proudly flaunted to the new countries they inhabit (Kao and
D o Rozario, 2008).
This supports the diasporic assertion of an ‘imagined space',
wherein consciousness
and identity can be shared w ith ‘one's own' people, though
scattered all over the globe.

The advantage of imagining such a global com munity and,
importantly, claiming one's
membership in it, while free from the restraints that normally
go w ith joint family
living and close-knit social surveillance, provide a convenient
virtual safety net that
seems to be cherished by many members of the diaspora and
thus contributes to more
individualised identity construction among members of such
global communities.
T he cultural relationships and consum ption patterns of the
diasporic or non-
resident Indians (NRIs) are thus an im portant key to
understanding the surfacing of
a hugely diverse yet global ‘Indian' identity and the connected
culture industry. NRIs
are Indians, whether they reside in New York or Dallas. They
are often more Indian
at heart than the majority of Indians in India, b u t are also
often quite different from
their Indian relations. If US-based NRIs now th ink of
themselves as the centre of
this globalised national identity, this claim is also available to
the numerically huge
Indian middle class that has ‘opened up ' and made itself
acquiescent to fantasies of a
life in the West, o r a life in India that is similar to the life of
the N R I (Sarkar, 2008).
W hile traditional Bollywood movies have in the past depicted
NRIs as corrupt, greedy
and lacking traditional values, the m odern diaspora is part of
the new, cosmopolitan
India, a t once an extension of the homeland and a contention of
India's presence in
the global arena (Kaur, 2002).

Postcolonial celebrations of Ind ian trad ition can thus happen
in M anhattan
nightclubs, beginning w ith short Western introductions that em
bed them in to the
global music scene, before evolving in to a more characteristic,
contemporary Indian
sound. The nightclub dancers, regardless of race or nationality,
prom ptly re-enact the
staged choreography typical of Bollywood without giving it any
second thought. W ithin
this imagined space, there is no absurdity in American night-
clubbers being able to
spontaneously adopt Bollywood choreography. This emphasises
Bollywood's ability
to compete with global pop music and makes it possible for
diasporic communities to
extend Bollywood's parameters even beyond the limits of the
movies and traditional
Indian and diasporic lifestyles (Kao and D o Rozario, 2008). In
many ways, then,
films, their music and their choreography can be used— and are
being employed— to
announce that India has arrived on the global scene.
Discussion and Future Directions
This article demonstrates that Bollywood is no t only an
indication of cinema's move-
m ent w ithin cultural globalisation; it also embodies a phenom
enon of globalisation
tha t is n o t m onolithic. As such, Bollywood does no t
symbolise a homogenising
influence forcing non-Indian cultures to adopt its
cinematographic or musical norms
and practices. At the same tim e, partly thanks to the success of

at least some Bollywood
movies worldwide, the nation of India has n o t been subjected
to eroding Hollywood
invasion or dom inating US cultural inputs. Bollywood counters
such uniformising,
globalising trends. As this article clearly confirms,
globalisation does no t automati-
cally lead to cultural Westernisation (Power and Mazumdar,
2000).
Instead, Bollywood itself has gone global and has added a new
type of mainstream
mode that makes it neither uniquely South Asian nor
exclusively spiced with an Indian,
hippy style of the 1960s. By the same token, Bollywood is no t
necessarily viewed as a
critique of Western cultural ideals (Hassam, 2007). As we have
seen, while Bollywood
movies have been deeply influenced by M T V (recall the
Snoop D ogg example),
Hollywood and Western productions (e.g. The Simpsons) have
also been inspired by
this relatively young 80-year-old Indian cinematographic style.
Some detractors refer to Hollywood as a superculture, but the
adjective ‘subcultural'
would be far too inaccurate a description or perception of
Bollywood. It may be true
that Bollywood has been heavily influenced by Hollywood
(more than vice versa),
bu t looking at the entire globe and no t just America,
Bollywood may by now have
become more dom inant and influential than its Hollywood rival

(Slobin, 2008).
Certainly, the formation of Bollywood is a process that is
simultaneously Indian and
cross-cultural. Both Hollywood and Bollywood are experiencing
changes of a textual
nature, w ith changes in the aesthetics of movies as bases of
cultural mimicry. There
are also operational modifications, mainly through the ever-
expanding co-production
opportunities between different agents in the local and global
industry of entertain-
m ent (Thakur, 2008).
In line with these contentions, the present analysis has focused
on Bollywood's
impact on both US culture and diasporic or non-resident
Indians (NRIs). In the busi-
ness of cinema, product formulas that reach over national,
social, cultural and ethnic
divides can be a successful strategy for conquering dem and
uncertainties (Lorenzen,
2009), bu t they also have m uch wider impact. O ur analysis
provides a fresh and useful
framework for understanding the increasingly complex cultural
and economic changes
and circulations of the globalisation of entertainment.
For future research, it might prove interesting to continue
examining specific details
of the perceptions formulated by Indian and Western audiences.
Because Bollywood
influence in countries like the U nited States is fairly recent, bu
t rapidly growing,
rather little is known about the effects this will have on Western
youths and future
generations. Additionally, popular culture scholars should

investigate whether or n o t
the Bollywood presence in Hollywood productions m ight turn
Hollywood eventually
into Bollywood West. The West may have the most prom inent
weight in the world's
media, b u t is certainly no t the only player. Globalisation, so
m uch is clearly confirmed
here, too, is no t merely another term for Americanisation. The
current expansion of
the Indian movie industry confirms this reality. Hopefully, this
analysis will enlighten
no t only Bollywood aficionados, b u t also its international
fans, Western movie goers
and diasporic Indian and non-Indian audiences, leading to
further reflections on these
exciting hybridisations of popular culture at a global and yet
glocal level.
Notes
1 . T he undoubted success of Slumdog Millionaire may be com
pared to the great attention
focused for some tim e on Crouching Tiger, H idden Dragon
(2000) from Taiwan. W hile
everyone was talking about how Chinese films may eventually
take over Hollywood, Chinese-
style film m aking w ith lots of kung fu d id lead to some
successful follow-up productions
like Hero (2002) and House of Flying Daggers (2004). For a
short tim e, Chinese-style film-
m aking also seemed to influence Hollywood with movies like K
ill B ill (2003—4) and The
M atrix (2003). However, this fetish for Chinese-style films
soon waned, despite an enormous

Chinese audience in the USA.
2. This also confirms the then current fashion for Chinese-style
martial arts films.
3. See India Today International, Volume V, N um ber 23 (4
June 2012): 46.
4 . We may now add food to this list (Kannan, 2012).
5 . Intriguingly, this is quite similar to the experience of foreign
retailers and lawyers trying
to penetrate the Indian m arket. See PW C (2012) on the form
er and Krishnan (2010) on
the latter.
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D r Jonathan M atusitz is an Associate Professor in the N
icholson School of
C om m unication at the University of Central Florida. His
academic interests in-
clude globalisation, intercultural com m unication, popular
culture, organisational
com munication and communication & technology.
Pam Payano is a Research Assistant in the Nicholson School of
Com m unication
at the University of Central Florida. H er academic interests
focus on intercultural
com munication, popular culture, visual com munication and
globalisation.
Address: University of Central Florida at Seminole State
College, Partnership Center
(#UP 3009), 100 W eldon Boulevard, Sanford, FL 32773, USA.
[e-mail: [email protected]]
GLOBALISATION OF POPULARCULTURE: FROM
HOLLYWOODTO BOLLYWOODIntroductionBollywood: A
Descriptive OverviewBollywood's Impact on the US: General
PerspectivesBollywood's Impact on the USA: Musical
PerspectivesBollywood for the Indian Diaspora in the
USADiscussion and Future DirectionsNotesReferences
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D E F E N D
Joint Publication 2-03
Geospatial Intelligence in
Joint Operations
5 July 2017
i
PREFACE

1. Scope
This publication provides doctrine for conducting geospatial
intelligence (GEOINT)
across the range of military operations. It describes GEOINT
organizations, roles,
responsibilities, and operational processes that support the
planning and execution of joint
operations.
2. Purpose
This publication has been prepared under the direction of the
Chairman of the Joint
Chiefs of Staff (CJCS). It sets forth joint doctrine to govern the
activities and performance
of the Armed Forces of the United States in joint operations,
and it provides considerations
for military interaction with governmental and nongovernmental
agencies, multinational
forces, and other interorganizational partners. It provides
military guidance for the exercise
of authority by combatant commanders and other joint force
commanders (JFCs) and
prescribes joint doctrine for operations and training. It provides
military guidance for use by
the Armed Forces in preparing and executing their plans and
orders. It is not the intent of
this publication to restrict the authority of the JFC from
organizing the force and executing
the mission in a manner the JFC deems most appropriate to
ensure unity of effort in the
accomplishment of objectives.
3. Application

a. Joint doctrine established in this publication applies to the
Joint Staff, commanders of
combatant commands, subordinate unified commands, joint task
forces, subordinate
components of these commands, the Services, and combat
support agencies.
b. The guidance in this publication is authoritative; as such,
this doctrine will be
followed except when, in the judgment of the commander,
exceptional circumstances dictate
otherwise. If conflicts arise between the contents of this
publication and the contents of
Service publications, this publication will take precedence
unless the CJCS, normally in
coordination with the other members of the Joint Chiefs of
Staff, has provided more current
and specific guidance. Commanders of forces operating as part
of a multinational (alliance
or coalition) military command should follow multinational
doctrine and procedures ratified
by the US. For doctrine and procedures not ratified by the US,
commanders should evaluate
and follow the multinational command’s doctrine and
procedures, where applicable and
consistent with US law, regulations, and doctrine.
Preface
ii JP 2-03
4. Contribution
The following staff, in conjunction with the Joint Doctrine

Development Community,
made a valuable contribution to the revision of this Joint
Publication: Lead Agent and Joint
Staff Doctrine Sponsor Mr. Sean Murphy, Joint Staff J-2; Joint
Analysis Division Action
Officer Mr. Mark Brown, Joint Staff J-7, Joint Doctrine
Analysis Division; and Joint
Doctrine Action Officer LTC Gregory Browder, Joint Staff J-7,
Joint Doctrine Division.
For the Chairman of the Joint Chiefs of Staff:
KEVIN D. SCOTT
Vice Admiral, USN
Director, Joint Force Development
iii
SUMMARY OF CHANGES
REVISION OF JOINT PUBLICATION 2-03
DATED 31 OCTOBER 2012
• Clarifies the national security mission of National Geospatial-
Intelligence Agency to
include responsibility for analysis, dissemination, and
incorporation of geospatial
intelligence (GEOINT) produced by ground-based platforms or

handheld
photography into the national system for geospatial intelligence.
• Expands Chapter II, “Roles and Responsibilities,” to include
the contents of
Appendix F, “Geospatial Intelligence Roles and Responsibilities
and Specific
Guidance.”
• Provides guidance on the establishment and composition of a
notional GEOINT cell.
• Updates GEOINT activities conducted by national and
Department of Defense-level
agencies, the Services, and partner nations.
• Provides a more detailed description of GEOINT operations
activities and how
GEOINT contributes to mission planning.
• Describes new processes and methods to organize and analyze
GEOINT data, to
include structured observation management, object based
production, and activity
based intelligence.
• Updates the various dissemination methods for data derived
from national,

commercial, airborne, handheld, and surface-based collection
systems.
• Deletes Appendix C, “Sample Annex M (Geospatial
Information and Services),” in
accordance with CJCSM 3130.03, Adaptive Planning and
Execution (APEX), 31
August 2012, which eliminates Annex M, “Geospatial
Information and Services,” by
consolidating it into Appendix C, “Sample Appendix 7
(Geospatial Intelligence) to
Annex B (Intelligence).”
• Replaces Appendix D, “Sample Appendix 7 (Imagery
Intelligence) to Annex B
(Intelligence),” with “Sample Appendix 7 (Geospatial
Intelligence) to Annex B
(Intelligence),” and merges in unique considerations for
geospatial information and
services to reconcile the deletion of Annex M, “Geospatial
Information and Services.”
• Updates the list of organizations that provide meteorological
and oceanographic
support to GEOINT and removes links to Websites.
• Introduces concepts of human geography and data layer
themes used within
geospatial intelligence preparation of the environment.

• Updates the list of standard GEOINT products and services.
Summary of Changes
iv JP 2-03
Intentionally Blank
v
TABLE OF CONTENTS
EXECUTIVE SUMMARY
..............................................................................................
vii
CHAPTER I
OVERVIEW OF GEOSPATIAL INTELLIGENCE
...............................................................................................
.................. I-1
............................................................................... I-2
.................................................. I-4

CHAPTER II
ROLES AND RESPONSIBILITIES
-Level Entities
.................................................II-1
...............................................................................................
....................II-7
...............................................................................................
II-7
.........................................................................II -9
.............................................................................................. .
.....................II-10
-Department of Defense Agencies
....................................................................II-14
............................................................................................. I
I-16
CHAPTER III
GEOSPATIAL INTELLIGENCE IN JOINT OPERATIONS
........................................................................ III-1
............................................................................ III-1
-Intelligence Agency Intelligence
Collaboration
and Assistance
Team......................................................................................
.......... III-4
telligence Preparation of the Operational Environment

.............................. III-5
CHAPTER IV
GEOSPATIAL INTELLIGENCE ACTIVITIES
...............................................................................................
............... IV-1
............................................. IV-2
.......................................................... IV-4
............................................................................................
IV-5
..................................................................................... IV -6
ization
.................................................................. IV-8
........................................................... IV-12
....................................................................................... IV-
14
APPENDIX
A Geospatial Intelligence and Joint Planning
............................................... A-1
B Sample Geospatial Intelligence Estimate
...................................................B-1

Table of Contents
vi JP 2-03
C Sample Appendix 7 (Geospatial Intelligence)
to Annex B (Intelligence)
...........................................................................C-1
D Geodetic Datums and Coordinate Reference Systems
.............................. D-1
E Meteorological and Oceanographic Support to Geospatial
Intelligence .... E-1
F Geospatial Intelligence Requirements Considerations
............................... F-1
G Geospatial Intelligence Products and Services
.......................................... G-1
H References
...............................................................................................
.. H-1
J Administrative Instructions
......................................................................... J-1
GLOSSARY
Part I Abbreviations, Acronyms, and Initialisms
.............................................. GL-1
Part II Terms and Definitions
............................................................................. GL-5
FIGURE
I-1 Geospatial Intelligence in Joint Operations
................................................ I-3
II-1 National System for Geospatial Intelligence
..............................................II-1
II-2 Supply Chain Partners
................................................................................II-6

III-1 Notional Geospatial Intelligence Cell Organizational
Construct ............. III-3
III-2 National Geospatial-Intelligence Agency Intelligence
Collaboration
and Assistance Team’s Roles and Responsibilities
During a Declared Event
.......................................................................... III-5
III-3 Joint Intelligence Preparation of the Operational
...................................................................... III-6
IV-1 The Intelligence Process
........................................................................... IV-1
IV-2 Geospatial Intelligence Activities
............................................................ IV-2
IV-3 Four Steps of Geospatial Intelligence Preparation of
the Environment
..................................................................................... IV -10
IV-4 Data Layer Themes Used in Human Geography
................................... IV-11
A-1 The Joint Planning Process
....................................................................... A-1
A-2 Geospatial Intelligence Planning Checklist
............................................... A-5
A-3 Geospatial Intelligence Cell Crisis Action Planning
Checklist ............... A-13
D-1 Global Area Reference System 30 Minute by 30 Minute
Address Scheme
........................................................................................ D -2
D-2 Global Area Reference System 30 Minute Address
Subdivision Scheme
.................................................................................. D -3
D-3 Examples of Authorized Reference System Formats
................................ D-3
G-1 Flight Information Publication Chart
........................................................ G-2
G-2 Topographic Line Map

.............................................................................. G-5
G-3 City Graphic
..............................................................................................
G-6
vii
EXECUTIVE SUMMARY
COMMANDER’S OVERVIEW
• Provides an Overview of Geospatial Intelligence (GEOINT)
• Discusses Roles and Responsibilities
• Explains GEOINT in Joint Operations
• Covers GEOINT Activities
Overview of Geospatial Intelligence
Geospatial intelligence
(GEOINT) operations include the
tasks, activities, and events used
to collect, manage, analyze,
generate, visualize, and provide
the imagery, imagery intelligence,
and geospatial information
necessary to support national and

defense missions as well as
international arrangements.
Geospatial intelligence (GEOINT) is defined in
Title 10, United States Code, Section 467, as “the
exploitation and analysis of imagery and geospatial
information to describe, assess, and visually depict
physical features and geographically referenced
activities on the Earth. GEOINT consists of
imagery, imagery intelligence (IMINT), and
geospatial information.” Any one or combination
of these three GEOINT elements may be considered
GEOINT. The full utility of GEOINT comes from
the integration and use of imagery, IMINT, and
geospatial information, enabling customers to gain a
more comprehensive perspective, an in-depth
understanding, and a cross-functional awareness of
the operational environment (OE). GEOINT
collection encompasses all aspects of literal,
infrared (IR), and synthetic aperture radar (SAR)
imagery; overhead persistent IR capabilities; and
geospatial information and services. GEOINT
includes the exploitation and analysis of electro-
optical, IR, and radar imagery, as well as the
exploitation and analysis of geospatial, spectral,
laser, IR, radiometric, SAR phase history,
polarimetric, spatial, and temporal data.
GEOINT Support to Joint
Operations
GEOINT supports joint operations through the
multidirectional flow and integration of geospatially
referenced data from relevant GEOINT and other
sources of intelligence and information to achieve a

shared awareness of the OE, near real time tracking,
and collaboration between forces. There are five
Executive Summary
viii JP 2-03
general categories of GEOINT support to joint
operations:
Intelligence.
and Control.
Roles and Responsibilities
National and Department of
Defense (DOD)-Level Entities
National System for Geospatial Intelligence
(NSG). As the Department of Defense (DOD)
GEOINT Mission Manager and the intelligence
community (IC) GEOINT Functional Manager, the
Director, National Geospatial-Intelligence Agency
(NGA), is responsible for the processes for tasking
imagery and geospatial information collection,
processing raw data, exploiting geospatial

information and imagery, analyzing information
and intelligence, disseminating information and
GEOINT to consumers, and identifying and
assessing risks and capability gaps and
recommending mitigation alternatives.
NGA. NGA is a combat support agency (CSA), as
well as an IC member organization, and is directly
subordinate to the Secretary of Defense (SecDef),
the Under Secretary of Defense for Intelligence
(USD[I]), and the Director of National Intelligence
(DNI). NGA produces timely, relevant, and
accurate GEOINT to the joint force. NGA is the
primary source for GEOINT analysis, products,
data, and services at the national level and provides
advisory tasking recommendations for Service-
operated airborne and surface-based GEOINT
collection platforms and sensors. NGA provides a
National Geospatial-Intelligence Agency support
team (NST) in direct support to a joint force
commander’s (JFC’s) joint intelligence operations
center (JIOC) and maintains NSTs for each of the
Services, DOD agencies, and several non-DOD
agencies. NGA manages satellite collection
requirements and develops distribution protocols for
Executive Summary
ix
the NSG in accordance with the National
Intelligence Priorities Framework (NIPF).

National Reconnaissance Office (NRO). The
NRO is a DOD agency and a member of the IC.
The NRO is responsible for research and
development, acquisition, launch, deployment, and
operation of overhead systems and related data
processing facilities to collect intelligence and
information to support national and departmental
missions and other US Government needs.
Joint Collaboration Cell—East. The Joint
Collaboration Cell—East provides time-sensitive
GEOINT support to national, strategic, and tactical
customers by exercising NGA and NRO processes,
tasking capabilities, and coordinating with subject
matter experts.
National Security Agency. The National Security
Agency is a CSA and a national-level intelligence
agency subordinate to SecDef, the USD(I), and the
DNI. The National Security Agency’s cybersecurity
and foreign signals intelligence information missions
incorporate GEOINT in the agency’s day-to-day
operations.
Defense Intelligence Agency (DIA). As the
Defense Collection Manager, the Director, DIA,
serves as the DOD conduit for collection
coordination of both national and airborne
GEOINT.
Defense Logistics Agency (DLA). The director of
DLA serves as the DOD integrated material
manager for all standard geospatial information

products, including maps, controlled image base,
charts, elevation data, and other aeronautical and
maritime navigation aids with national stock
numbers.
Joint Staff The Joint Staff is the primary interface between the
CSAs, Services, and joint force commands for
federated support. To establish federated support,
the joint force submits a community on-line
intelligence system for end-users and managers
Executive Summary
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request to the Joint Staff or Geospatial
Requirements One-Stop Visualization Environment
request.
Combatant Commands The combatant commands (CCMDs)
develop
GEOINT requirements to support development of
warning intelligence, as well as the planning and
execution of joint operations. The geographic
combatant commander, in partnership with the
NST, may establish a GEOINT cell to coordinate all
GEOINT requirements within its area of
responsibility while ensuring the supporting
commands or component commands are managing
theater and mission-specific GEOINT requirements.

Subordinate Joint Force
Commander
Subordinate commanders develop area and point
target GEOINT requirements to support the
planning and execution of joint operations. The
designation of the GEOINT officer and subsequent
establishment of the GEOINT cell is normally
accomplished under the direction of the intelligence
directorate of a joint staff (J-2).
Services The Services support departmental planning
functions with GEOINT products, Service-specific
content, format, and media. The Services are
responsible for ensuring forces train with the
appropriate range of GEOINT and for identifying
specific or unique GEOINT requirements for
weapons systems. Services maintain a Service
GEOINT element at Headquarters NGA (consistent
with Department of Defense Directive 5105.60,
National Geospatial-Intelligence Agency [NGA]),
and assign departmental requirements officers to
participate in and represent their Service interests at
GEOINT collection subcommittee meetings.
Non-DOD Agencies While US DOD and IC agencies are key
GEOINT
producers, civil agencies also participate in
supporting operations, whether they are military or
humanitarian in nature. As examples, the

Department of Interior’s United States Geological
Survey and elements of the Department of
Homeland Security participate with the NSG in
providing support to defense and civil operations
through the acquisition and analysis of commercial
Executive Summary
xi
imagery and topographic products. Other non-DOD
and IC agencies providing GEOINT in support of
operations include the National Oceanic and
Atmospheric Administration, US Department of
Agriculture, and the Federal Aviation
Administration.
Commonwealth Allies As functional manager of GEOINT, the
Director,
NGA strives to incorporate to the maximum extent
its commonwealth allies: Australia, Canada, New
Zealand, and the United Kingdom. These countries
work closely with the US theater CCMD’s JIOC on
GEOINT production as part of GEOINT mission
management, also known as unified geospatial-
intelligence operations (UGO). While the
individual nation may have varying strategic goals,
the desired end state for the group is a common
analysis and production agreement and an
interoperable information technology infrastructure
for GEOINT.

Geospatial Intelligence in Joint Operations
Joint Intelligence Operations
Center
The JIOC is the focal point for the command’s
intelligence planning, collection management,
operations, exploitation, analysis, production, and
dissemination effort. It is organized to satisfy the
commander’s intelligence requirements.
Joint GEOINT Cell The GEOINT cell, led by a GEOINT officer,
integrates people, processes, and tools using
multiple information sources and collaborative
analysis to build a shared knowledge of the
environment, the adversary, and friendly forces.
The recommended composition of the GEOINT cell
contains both core and extended cell
representatives. Optimally, the core GEOINT cell
would consist of a GEOINT officer; an imagery
collection and production manager; a geospatial
collection and production manager; a visualization,
systems, and data expert; a GEOINT plans and
requirements expert; an NST; and an NST liaison
officer. An extended GEOINT cell consists of the
core personnel augmented with additional members
from across the organization and its mission
partners to coordinate information fusion,
Executive Summary

xii JP 2-03
visualization, analysis, and sharing.
National Geospatial-Intelligence
Agency Intelligence
Collaboration and
Assistance Team
The NGA intelligence collaboration and assistance
team, located within the National Geospatial-
Intelligence Agency Operation Center, provides
continuous global situational awareness and
GEOINT assistance to joint operations, including
support for declared events (e.g., personnel
recovery).
Joint Intelligence Preparation of
the Operational Environment
Subordinate commands should utilize compatible
GEOINT products, data, and standards to facilitate
joint intelligence preparation of the operational
environment (JIPOE) processes and products
developed by the joint force J-2 to adequately
support the mission. Advanced coordination of
GEOINT support is essential among the joint force,
national agencies, CCMDs, and multinational and
host nation forces in order to form a common point
of reference and framework for JIPOE. The JFC
may choose to establish a JIPOE coordination cell
to assist in integrating and synchronizing the JIPOE
effort with supporting organizations, related
capabilities, and staff elements. The GEOINT

officer is typically a member of the JIPOE
coordination cell and provides advice and assistance
regarding geospatial issues, including registering
data to a common reference system. A
multinational JIPOE effort requires interoperable
GEOINT data, applications, and data exchange
capabilities.
Geospatial Intelligence Activities
Introduction
Direction, Planning, and
GEOINT activities are the tasks, actions, and events
to collect, manage, analyze, generate, visualize, and
provide imagery, IMINT, and geospatial
information necessary to support the NIPF,
international arrangements, safety of navigation,
and targeting. GEOINT activities build upon the
intelligence process; tasking, processing,
exploitation, and dissemination capabilities; and
joint warfighter interoperable models.
Direction. The GEOINT cell may develop and

Executive Summary
xiii
Requirements Management publish the CCMD’s GEOINT
concept of
operations identifying the required resources,
delineating the management of the CCMD
GEOINT cell, and specifying coordination and
collaboration processes with the NST, UGO, and
subordinate command GEOINT cells.
GEOINT Planning and Direction. The GEOINT
cell leads the planning and direction of GEOINT
information and intelligence processes for fusion,
visualization, analysis, and sharing by developing
appendix 7 (Geospatial Intelligence) to annex B
(Intelligence) to plans and orders.
GEOINT Requirements Management. To
support appendix 7 to annex B of the plan or order,
the GEOINT cell coordinates across all functions of
the command and subordinate commands to
accomplish specified mission requirements to
enable fusion, visualization, analysis, and sharing.
Discover and Obtain GEOINT The GEOINT cell coordinates the
procedures and
manages the tasks to search for, find, access, and
gather GEOINT information and foundational data
from existing holdings, databases, and libraries.

The user can discover, exploit, and manipulate data
from available libraries or databases to create
tailored products or data sets for specific mission
purposes or military applications. Available
libraries or databases provide the foundation for a
DOD-wide distributed network of content that
includes, but is not limited to, topographic, air,
space, hydrographic, and other geospatial
information, as well as imagery, geographic names,
and boundary data.
Tasking and Collection Tasking involves submitting collection
requirements necessary for acquiring data or
information to meet mission objectives to the
collection management authority. The process
involves converting intelligence or mission
requirements into collection requirements,
establishing priorities, tasking or coordinating with
appropriate collection sources or agencies,
monitoring results, and re-tasking as required.
GEOINT Information Management Services is the
Executive Summary
xiv JP 2-03
system used to task national collection systems.
The Planning Tool for Resource, Integration,
Synchronization, and Management is the system
used to manage airborne asset collection
requirements and for tasking airborne assets.
Collection includes those activities related to the

acquisition of GEOINT data or information
necessary to satisfy tasked requirements. Primary
collection systems used by NGA and the DOD
community are satellite and airborne platforms and
their associated sensors, as well as imagery derived
from surface-based platforms and open sources.
The GEOINT cell coordinates the collection,
acquisition, or procurement of GEOINT sources
and the associated tasking and management of
collection resources.
Processing and Exploitation The GEOINT cell coordinates the
assessment,
correlation, and conversion of collected foundation
GEOINT data into a useable form or formats
suitable for analysis, production, and application by
end users. The processing may include automated,
semi-automated, and manual procedures to integrate
data. Exploitation involves the evaluation and
manipulation of processed GEOINT data to extract
information related to a list of essential elements of
information (EEIs). Exploitation results in the
extraction of information and data that is
specifically selected for use or integration in
subsequent tasks in the GEOINT operations
process.
Analysis, Production, and
Visualization
The GEOINT cell coordinates the use,
interpretation, and integration of information into
standard or tailored GEOINT products and data,
visual presentations of situational awareness, and

trend analysis in response to expressed or
anticipated information requirements. During this
step of the process, information and intelligence is
analyzed, produced, and visualized to satisfy the
commander’s critical information requirements
(priority intelligence requirements and friendly
force information requirements) through the
evaluation of EEIs.
Executive Summary
xv
Dissemination, Collaboration,
and Storage
Dissemination is the timely conveyance of GEOINT
content or products in an appropriate form and by any
suitable means, whether in hard copy or electronic
form, and ensuring they are discoverable and
retrievable by the user on the appropriate network.
Increasingly, the GEOINT community is moving
toward a common approach to capture, store,
standardize, and make GEOINT observations
available. Using structured observation management
(SOM), imagery observations may be captured and
stored as structured data, allowing analysts to quickly
discover information and intelligence, allowing them
to focus on qualitative and quantitative analysis.
SOM and all-source structured observations of object
based production create and organize information
making it easier for analysts to use data from multiple
sources, discover new knowledge about objects and

networks, and enable models that drive automated
tipping and cueing.
Evaluation and Feedback The joint force provides feedback to
the developers
of national-level GEOINT through their resident
GEOINT cells (or similar organization). This
feedback is provided through features embedded in
the various tools and systems, and is an extension of
the previously mentioned collaboration process.
CONCLUSION
This publication provides doctrine for conducting
GEOINT across the range of military operations. It
describes GEOINT organizations, roles,
responsibilities, and operational processes that
support the planning and execution of joint
operations.
Executive Summary
xvi JP 2-03

Intentionally Blank
I-1
CHAPTER I
OVERVIEW OF GEOSPATIAL INTELLIGENCE
1. Introduction
a. Joint forces require the ability to rapidly respond to threats
around the world.
Geospatial intelligence (GEOINT) supports this requirement by
providing imagery, imagery
intelligence (IMINT), geo-referenced data, and products (e.g.,
maps, charts, and elevation or
vector information) that serve as a foundation and common
frame of reference for any joint
operation.
b. GEOINT is defined in Title 10, United States Code (USC),
Section 467, as “the
exploitation and analysis of imagery and geospatial information
to describe, assess, and
visually depict physical features and geographically referenced
activities on the Earth.
GEOINT consists of imagery, IMINT, and geospatial
information.” Any one or combination
of these three GEOINT elements may be considered GEOINT.
While geospatial information
“The want of accurate maps of the Country which has hitherto
been the Scene of
War, has been a great disadvantage to me. I have in vain

endeavored to procure
them and have been obliged to make shift with such sketches as
I could trace from
my own Observations…”
General George Washington, according to John C. Fitzpatrick,
Writings of George
Washington from the Original Manuscript Sources, 1745-1799,
ed. (Washington,
D.C.: Government Printing Office, 1931-1944)
GEOSPATIAL INTELLIGENCE ELEMENTS
Imagery: A likeness or presentation of any natural or man-made
feature
or related object or activity and the positional data acquired at
the same
time the likeness or representation was acquired, including
products
produced by space-based national intelligence reconnaissance
systems,
and likenesses or presentations produced by satellites, airborne
platforms, unmanned aerial vehicles, or other similar means
(except that
such term does not include handheld or clandestine photography
taken
by or on behalf of human intelligence collection organizations).
Imagery Intelligence: The technical, geographic, and
intelligence
information derived through the interpretation or analysis of
imagery and
collateral materials.
Geospatial Information: Information that identifies the

geographic
location and characteristics of natural or constructed features
and
boundaries on the Earth, including statistical data and
information
derived from, among other things, remote sensing, mapping, and
surveying technologies; and mapping, charting, geodetic data,
and
related products.
SOURCE: Title 10, United States Code, Section 467
Chapter I
I-2 JP 2-03
can be used for non-intelligence related purposes, it can be used
to depict features and
activities relevant to intelligence functions.
c. The National Geospatial-Intelligence Agency (NGA) mission
is to manage and
produce GEOINT in accordance with (IAW) Title 10, USC,
Section 442, and Title 50, USC,
Section 3045. Title 10, USC, directs NGA to develop a system
to facilitate the analysis,
dissemination, and incorporation of likenesses, videos, and
presentations produced by
ground-based platforms, including handheld or clandestine
photography taken by or on
behalf of human intelligence collection organizations or
available as open-source
information, into the National System for Geospatial

Intelligence (NSG). Title 10, USC,
Section 442, does not include the authority for NGA to manage
tasking of handheld or
clandestine photography taken by or on behalf of human
intelligence collection
organizations.
2. Geospatial Intelligence Overview
a. GEOINT is an intelligence discipline that has evolved from
the integration of
imagery, IMINT, and geospatial information to a broader cross-
functional effort in support
of national and defense missions and international
arrangements. Advances in technology
and the use of geospatial data throughout the joint force have
created the ability to integrate
more sophisticated capabilities for visualization, analysis, and
dissemination of fused views
of the operational environment (OE). The full utility of
GEOINT comes from the integration
and use of imagery, IMINT, and geospatial information,
enabling customers to gain a more
comprehensive perspective, an in-depth understanding, and a
cross-functional awareness of
the OE (see Figure I-1). GEOINT collection encompasses all
aspects of literal, infrared (IR),
and synthetic aperture radar (SAR) imagery; overhead persistent
IR capabilities; and
geospatial information and services (GI&S). GEOINT includes
the exploitation and analysis
of electro-optical, IR, and radar imagery, as well as the
exploitation and analysis of
geospatial, spectral, laser, IR, radiometric, SAR phase history,
polarimetric, spatial, and
temporal data. It employs all ancillary data, signature

information, and fused data products,
as necessary. GEOINT provides many advantages for the
warfighter, national security
policy makers, homeland security personnel, and intelligence
community (IC) collaborators
by precisely locating activities and objects; enabling safe
navigation over air, land, and sea;
assessing and discerning the meaning of events; and providing
context for decision makers.
Technical advancements in structured observation management
(SOM), object-based
production (OBP), and activity-based intelligence (ABI) are
also promoting the integration
of intelligence data; improving the ability to discover, access,
and use data; and creating
efficiencies in analysis and production.
b. GEOINT operations include the tasks, activities, and events
used to collect, manage,
analyze, generate, visualize, and provide the imagery, IMINT,
and geospatial information
necessary to support national and defense missions, as well as
international arrangements.
GEOINT operations consist of a set of interrelated and specific
activities and procedures to
conduct GEOINT and cross-functional operational awareness of
the environment. These
activities continuously support information fusion,
visualization, analysis, and sharing. They
may be performed independently; in conjunction with one
another; or as a component of
other intelligence, combat support, or information-related
activities.

I-3
Figure I-1. Geospatial Intelligence in Joint Operations
Geospatial Intelligence in Joint Operations
NRT Feeds
Message (AMHS, Freetext
and USMTF)
RSS
Weather
Intelligence Layers
Threats
AOB/GOB/NOB
Collections
Assessments
Targeting
Cyberspace order of battle
Cross-Functional Data Layers:
UN, host nation, NGO
Regional cooperation
relationships
Climate, ecosystem
applications
Water and land
management
Demographic, human

geography
Population, refugees, and
migration
Logistics plans and
operations
Medical
Operation/concept plans
Checkpoints, MSRs, LOCs
Shared Foundation Geospatial
Database
Map data
Imagery data
Elevation data
Infrastructure
Cyberspace data

GEOINT provides a common framework for managing
information in support of situational awareness,
JIPOE, COP, targeting, and decision making.
(Notional Layers –
Can be any geospatially enabled data)

Common, Service-Enabled
Access to Authoritative
Information Across all
Domains Viewed Using
Standards-Based
Applications
Geospatial capabilities enable
cross-functional information
fusion, visualization, analysis,
production, and sharing
activities.
Imagery, Imagery
Intelligence, Geospatial
Information
Legend
AMHS automated message handling system
AOB
GOB
JIPOE joint intelligence preparation of the
operational environment
air order of battle
COP common operational picture
ground order of battle
GEOINT geospatial intelligence
LOC line of communications

MSR
NOB
NRT near real time
RSS
USMTF
main supply route
NGO non-governmental organization
naval order of battle
really simple syndication
United States message text format
UN United Nations
Chapter I
I-4 JP 2-03
3. Geospatial Intelligence Support to Joint Operations
a. GEOINT provides a common foundation for supporting joint
operations to better
enable mission accomplishment across the range of military
operations. GEOINT supports
joint operations through the multidirectional flow and
integration of geospatially referenced
data from relevant GEOINT and other sources of intelligence
and information to achieve a
shared awareness of the OE, near real time (NRT) tracking, and
collaboration between
forces. GEOINT provides a context of space and time regarding

the OE, contributing to
knowledge about capabilities, trends, and patterns for
operational awareness and decision
making.
b. Foundation GEOINT, in the form of features, elevation,
controlled imagery base,
geodetic sciences, geographic names and boundaries,
aeronautical, maritime, digital point
positioning database (DPPDB), and human geography, provides
the basic framework for
visualizing the joint common operational picture (COP). It is
information produced by
multiple sources and is streamed and stored using validated
Department of Defense
Information Technology Standards Registry (DISR)
interoperable data standards. GEOINT
online on-demand services include tools that enable users to
access and manipulate data and
provide instruction, training, laboratory support, weapon
systems analysis, and guidance for
the use of geospatial data.
c. GEOINT activities support joint operations through the
delivery of finished analytical
products. The GEOINT operations process consists of
interrelated and specific GEOINT
activities and procedures to conduct GEOINT in support of joint
operations. These activities
are continuous and may be performed independently; in
conjunction with one another; or
integrated as a component of other intelligence disciplines or
operational procedures that
require information fusion, visualization, analysis, and sharing.
Optimization of GEOINT
production to support operations is facilitated by unified

geospatial-intelligence operations
(UGO), which is the collaborative and coordinated process to
assess, align, and execute
GEOINT across the NSG and its partner organizations. Refer to
Chapter IV, “Geospatial
Intelligence Activities,” for a more detailed discussion of the
GEOINT operations process
and the associated activities and procedures.
d. Joint force commanders (JFCs) should consider establishing
a GEOINT cell to
manage GEOINT activities under the joint force’s command
structure. The JFC can request
the establishment of this cell, which typically includes both
NGA civilian and military
personnel, with representation from Service GEOINT
organizations. NGA will frequently
deploy a forward element with reachback connectivity to NGA
analysts and data repositories
in support of a crisis response operation. Execution of the
GEOINT support mission is
conducted by personnel in theater and supported with
continental United States (CONUS)-
based elements in a reachback capacity. Requests to establish
this cell are initiated by
contacting the National Geospatial-Intelligence Agency
Operation Center (NOC) and the
NGA Director of Operations, Office of Expeditionary
Operations via the combatant
command (CCMD) National Geospatial-Intelligence Agency
support team (NST). Early
coordination with NGA and other GEOINT producers is
essential. The GEOINT cell
interacts directly with customers and the NSG to obtain and
provide the highest quality
GEOINT support in response to validated mission requirements.

I-5
e. There are five general categories of GEOINT support to joint
operations:
(1) General Military Intelligence and Warning Intelligence. As
one component
of general military intelligence and warning intelligence,
GEOINT supports monitoring
scientific and technological developments and capabilities of
foreign military forces for long-
term planning purposes and for detecting and reporting foreign
developments that could
involve a threat to US and partner nations’ military, diplomatic,
or economic interests or to
US citizens abroad. Additionally, GEOINT supports situational
awareness (SA) by
providing warning of possible increased threats or a significant
increase in the tactical
positioning of adversary assets.
For more information on general military intelligence and
warning intelligence, see Joint
Publication (JP) 2-0, Joint Intelligence.
(2) Safety of Navigation. Using bathymetric, hydrographic,
maritime safety,
gravimetric, aeronautical, atmospheric, and topographic
information for sea, air, and land
navigation. The Global Positioning System (GPS) is the
primary source of positioning,

navigation, and timing information.
(3) OE Awareness. Visualizing the OE via change detection;
tracking movements
of interest; and monitoring land installations, support facilities,
airfield site selection
suitability, and port activity. GEOINT is a key component
supporting joint intelligence
preparation of the operational environment (JIPOE) and
provides the geospatial foundation
to visualize all sources of intelligence and operational data
within a COP.
(4) Mission Planning, Rehearsal, and Command and Control
(C2). Employing
GEOINT content to plan, rehearse, and execute missions;
evaluate mission progress; adjust
schedules; and assign and apportion forces, as appropriate.
GEOINT can be used to create
realistic, interactive scenarios that accurately depict the
operational area in three dimensions
and across time. The simulated air, land, or maritime
environment prepares personnel for
factors they may encounter in the planning and execution of
missions.
(5) Support to Targeting. Targeting support consists of the
development of target
materials through basic, intermediate, and advanced target
development; IC target vetting;
collateral damage estimation; and battle damage assessment.
NGA provides geospatial
accuracy assurance through its accreditation, certification,
geopositioning tools validation,
Modernized Integrated Database/National Production Workshop
quality review, and testing

and evaluation programs. NGA also performs numerous
photogrammetric processes to
generate targeting foundation products.
Chapter I
I-6 JP 2-03
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II-1
CHAPTER II
ROLES AND RESPONSIBILITIES
1. National and Department of Defense-Level Entities
a. NSG. The NSG is the combination of technology, policies,
capabilities, doctrine,
activities, people, data, and organizations necessary to produce
GEOINT in an integrated,
multi-intelligence environment. Operating within the laws of
the US and the policies and
guidelines established by the Director of National Intelligence
(DNI), the NSG community
consists of principal members, associate members, and partners
(see Figure II-1). As the
Department of Defense (DOD) GEOINT Mission Manager and
the IC GEOINT Functional
Manager, the Director of NGA is responsible for the processes

for tasking imagery and
“Nothing should be neglected to acquire a knowledge of the
geography and the
military statistics of other states, so as to know their material
and moral capacity
for attack and defense, as well as the strategic advantages of the
two parties.”
General Antoine Henri de Jomini
Translated from Précis de l’Art de la Guerre, 1838
Figure II-1. National System for Geospatial Intelligence
Principal Members
Central Intelligence Agency
Defense Intelligence Agency
National Geospatial-Intelligence

Agency
National Reconnaissance Office
National Security Agency
Department of Homeland Security
Department of Energy
Department of State
Associate Members
Allied System for Geospatial
Intelligence (ASG)
MASINT Committee
National HUMINT Committee
Department of Treasury

Federal Bureau of Investigation
Drug Enforcement Agency
US Geological Survey
Office of the Director of National
Intelligence
Office of the Joint Chiefs of Staff
US Armed Services
Combatant Commands
National SIGINT Committee
Open Source Committee
Civil Applications Committee
National System for Geospatial Intelligence
Legend
Note:
The ASG is a partnership that unifies United States, Australia,
Canada, New Zealand, and the United Kingdom
to advance the GEOINT mission and develop a mission-ready
workforce that operates in a multi-intelligence
environment at strategic, operational, and tactical levels.
GEOINT geospatial intelligence
HUMINT human intelligence
MASINT measurement and signature intelligence
SIGINT signals intelligence

Chapter II
II-2 JP 2-03
geospatial information collection, processing raw data,
exploiting geospatial information and
imagery, analyzing information and intelligence, disseminating
information and GEOINT to
consumers, and identifying and assessing risks and capability
gaps and recommending
mitigation alternatives. The DOD GEOINT Manager mandates
and enforces GEOINT
standards and architectures for the NSG, promotes
interoperability between existing and
future systems, and sets guidance to the NSG.
b. NGA is a combat support agency (CSA), as well as an IC
member organization, and
is directly subordinate to the Secretary of Defense (SecDef), the
Under Secretary of Defense
for Intelligence (USD[I]), and the DNI. NGA produces timely,
relevant, and accurate
GEOINT to the joint force. NGA is the primary source for
GEOINT analysis, products,
data, and services at the national level and provides advisory
tasking recommendations for
Service-operated airborne and surface-based GEOINT collection
platforms and sensors. In
addition to the GEOINT support identified in JP 2-01, Joint and
National Intelligence
Support to Military Operations, NGA’s mission supports
national and homeland security,
defense policy and force structure, advanced weapons and
systems development, and natural

disaster relief. Along with the United States Air Force (USAF),
NGA is a co-provider of
positioning and navigation services to DOD and the IC. By
accessing NGA’s Map of the
World, intelligence analysts have access to additional data and
products to aid in
development of their own customized GEOINT products or can
obtain standard and
nonstandard GEOINT products and analysis. NGA’s authorities
and responsibilities are
codified in Department of Defense Directive (DODD) 5105.60,
National Geospatial-
Intelligence Agency (NGA). NGA’s responsibilities include:
(1) NGA serves as the DOD lead for all acquisition or exchange
of commercial and
foreign government-owned, imagery-related, remote sensing
data for DOD components.
The agency coordinates such purchases by other United States
Government (USG)
departments and agencies, on request. This effort facilitates
NGA’s support to and
collaborative efforts with partner nations, other IC agencies,
DOD organizations, and other
civilian entities.
(2) NGA provides an NST in direct support to a JFC’s joint
intelligence operations
center (JIOC) and maintains NSTs for each of the Services,
DOD agencies, and several non-
DOD agencies. NGA also maintains a Pentagon NST supporting
the Joint Staff. Each NST
consists of a core cadre that includes geospatial analysts,
imagery analysts, and staff officers.
An established NST has reachback connectivity with NGA to
gather support requirements,

synchronize, and coordinate NGA’s support to the joint force.
The NST cadre includes
personnel who are trained and ready to deploy to a joint force
headquarters (HQ) staff at any
time. Emergency-essential designation personnel deploy at the
discretion of the host
commander and in coordination with the NST chief. The NST
chiefs serve as the
Director/NGA’s personal representatives to the host
organization for direct support and
oversee NGA GEOINT resources and capabilities to meet the
host site mission requirements.
The NST chief also represents the GEOINT functional manager
and contributes to UGO
management at the host site. Emergency-essential designation
personnel provide deployed
on-site GEOINT support in the form of a GEOINT support team
to work directly with and
augment their military counterparts and serve as a conduit to the
NGA and the remaining
NST contingent. At the request of the NST, NGA can provide
specific capabilities and
Roles and Responsibilities
II-3
additional personnel to the GEOINT support team to meet
CCMD mission requirements.
The NST HQ element can then provide reachback to the
national-level as needed, potentially
augmenting any NGA presence.
(3) NGA manages satellite collection requirements and

develops distribution
protocols for the NSG IAW the National Intelligence Priorities
Framework (NIPF). Once
GEOINT data is collected and processed, NGA serves as the
lead agency for the exploitation
and analysis of the data and the access/distribution of the
resulting products.
(4) Additional Roles and Responsibilities of the NGA
(a) Assist in development of GEOINT requirements to be
included in appendix
7 of annex B for appropriate plans and orders. See Appendix C,
“Sample Appendix 7
(Geospatial Intelligence) to Annex B (Intelligence),” for more
information.
(b) Develop support plans for all designated plans.
(c) Produce and maintain timely, accurate, and relevant
worldwide
aeronautical and maritime safety of navigation databases and
products essential for safe and
effective operations in support of national interests.
(d) Coordinate planned production of DOD-standard GEOINT
products with
the Defense Logistics Agency (DLA) to ensure combatant
commander (CCDR) and Service
requirements are considered when stock levels are established.
(e) Train and maintain an internal crisis management team to
respond to
CCDR requirements.
(f) Provide GEOINT strategic workforce planning and specific

training for
general and specialized tradecraft skills through the National
Geospatial-Intelligence
College.
(g) Provide guidance and oversight on procedures and
processes to task,
collect, analyze, disseminate, share, and archive GEOINT by the
most efficient and
expeditious means consistent with DOD and the Office of
National Intelligence security and
information sharing policies and procedures.
(h) Participate in Chairman of the Joint Chiefs of Staff (CJCS)
level exercises
in order to assess NGA responsiveness and readiness to support
operational forces.
(i) Participate in DOD requirements and acquisition forums to
identify digital
GEOINT dissemination requirements and ensure DOD
communications networks and
infrastructures meet customer needs.
(j) Develop and consolidate GEOINT collection requirements
for the NSG and
develop collection plans that respond to national and military
priorities.
Chapter II
II-4 JP 2-03
(k) Assist in development of GEOINT requirements to be

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