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Relevant bibliographies by topics / Film censorship

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Academic literature on the topic 'Film censorship'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Film censorship"

1

Pradsmadji, Shadia Imanuella, and Nina Mutmainnah. "Indonesian Cinema: The Battle Over Censorship." IKAT: The Indonesian Journal of Southeast Asian Studies 6, no. 1 (September 29, 2022): 17. http://dx.doi.org/10.22146/ikat.v6i1.71547.

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The practice of film censorship has been in Indonesia since the Dutch East Indies era. Since then, film stakeholders have always been the battleground, as the different values and norms generate different views and beliefs. The critical constructionism paradigm is used to examine the contestation of film censorship in Indonesia. Four films released after the enactment of the 2009 Film Law are used as the case study: The Act of Killing, The Look of Silence, Naura & Genk Juara, and Memories of My Body. Data collection was done through a collection of news reports and social media posts that discussed the four films used as the case study. In addition, interviews with four stakeholders were done, which were an alternative cinema manager, a representative of the Indonesian Censorship Board (LSF), a representative of the Indonesian Film Body (BPI), and a film actor/director. The research results indicated that different stakeholders have different views and interests regarding film censorship, which explains why the polemic of contestation over the film censorship policy happens. Some people believe that film censorship should exist, as it would give control over society. At the same time, some people believe that film censorship should be replaced by film classification as a form of freedom of expression. There are also arguments over the standards of film censorship. Academically, the research’s significance is to develop studies regarding film censorship polemic and its stakeholders’ contestation. In contrast, practically, the research may be used to formulate film censorship regulation and policy by evaluating factors that may cause conflict among film stakeholders.

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Goodman, Giora. "Censorship of Arab Cinema in the State of Israel, 1948-1967." Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 39 (December 31, 2023): 199–224. http://dx.doi.org/10.51854/bguy-39a158.

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This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their content. The censorship's dual purpose was to prevent Arab films from awakening the national and political consciousness of the Arabs living in Israel, and to distance Jewish immigrants from their Arab culture, in order to promote their assimilation into hegemonic Israeli culture. However, the censorship's attempts at political control over Arabs and cultural control over Jews was doomed to failure due to the emergence of a new means of communication and entertainment in the Middle East – television. This ended the cinema theaters' monopoly over the consumption of Arab films, and thus the Film and Theater Censorship Board's ability to censor them.

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Werenskjold, Rolf. "German pressure: Spy films and political censorship in Norway, 1914–40." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 365–89. http://dx.doi.org/10.1386/jsca_00009_1.

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This article explores the relationship between spy films, political censorship and Norwegian foreign policy during the period from 1914 to 1940. Espionage was a popular topic in Norway during this era, both in the news media and as a theme in fictional dramas. Based on a survey of the vetting of 57 spy films, both silent and sound, by the state censorship board, the article focuses on the Norwegian government’s hidden role in political film censorship throughout the period. While Norway’s Constitution and film censorship statutes provided no legal foundation for political censorship, there is nonetheless ample evidence that it took place. The article concludes with an in-depth analysis of the process of banning the US film Confessions of a Nazi Spy in July 1939, the German involvement in that process, and the subsequent effort to change the censorship law to reflect what was happening in practice.

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Goodman, Giora. "Film Censorship in Israel and the Cold War, 1948-1967." IYUNIM Multidisciplinary Studies in Israeli and Modern Jewish Society 37 (July 15, 2022): 121–46. http://dx.doi.org/10.51854/bguy-37a135.

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The article examines the impact of the Cold War on film censorship in Israel during the first two decades of the state and sheds light on the Israeli Film Censorship Board’s collaboration with other government bodies, above all the Foreign Ministry in the censorship of western anti-communist films, and to a lesser extent, Soviet anti-American films. Such Cold War-related film censorship was carried out in response to domestic criticism but also to prevent any possible damage to Israel's diplomatic relations, particularly with the Soviet Bloc, owing to the large number of films imported from the United States. In addition to discussing film censorship policies and practices, the article demonstrates the crucial impact of Cold War culture on the political world in Israel, particularly during the early years of the state. The article's main argument is that the diplomatic impetus for censoring Cold War films attests to Israel’s insecurity vis-à-vis its international status prior to the 1967 War as well as to the ultimately unsuccessful attempt by the government to preserve what was left of its deteriorating relations with the Soviet Bloc.

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Barber, Sian. "‘Lewd, pornographic filth’: Managing Culture through Local Film Censorship in Britain, 1948–1968." Journal of British Cinema and Television 21, no. 1 (January 2024): 53–74. http://dx.doi.org/10.3366/jbctv.2024.0699.

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Film censorship in the UK is predicated on a two-tier system whereby the British Board of Film Classification (formerly British Board of Film Censorship Censorship) (BBFC) recommends a classification for a film and this classification is then implemented by local authorities. In cases where local authorities disagree with a BBFC decision they can change the classification or ban the film entirely. Conversely, they can also screen a film which has no BBFC certificate. This local decision-making is permitted under the powers granted to local authorities to oversee cinema exhibition and licensing. Using The Snake Pit, Rock around the Clock and Ulysses, and offering a broad historical and geographic sweep, this article explores local council archives and local press reporting to map local censorship across the UK, drawing attention to inconsistencies in different areas and how councils justified the decisions they took on specific films.

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Mansour, Dina. "Egyptian film censorship." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 21–36. http://dx.doi.org/10.33178/alpha.4.02.

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Films are a representation and manifestation of culture; yet, since the early days of filmmaking public debates have questioned whether “the motion picture industry was morally fit to control the content of its own products” (Robichaux). Today, the Arab world is plagued by the same dilemma. In a region where government censorship is the norm, heavy restrictions are imposed on locally produced films as a means of “safeguarding” public norms, religion and culture. Also problematic in today’s globalised world is the influx of foreign films into local markets, which not only defy public norms, but also represent cultural values and traditions that are quite alien to societies that have been inherently religious and conservative. Against this background, this article aims to analyse the role of censorship in Egypt with regard to the relationship between cinema and culture—a relationship often overlooked and perhaps intentionally ignored. In doing so, it will examine how censorship has traditionally been used as a tool to control the representation of existing social and cultural realities and to define cultural and religious norms, thus also affecting the normative context.

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Mehta, Monika. "Reframing Film Censorship." Velvet Light Trap 63, no. 1 (2009): 66–69. http://dx.doi.org/10.1353/vlt.0.0032.

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Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)." Journal of African Cinemas 13, no. 2 (December 1, 2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.

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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thus, it is with this gap that this study attempts to fill and make a useful contribution to Ghanaian film history. The colonial experience set the basis for cinematic houses, film production, censorship, distribution and ideological concerns in African cinema. This study is framed within the relationship between cinema and history, with a specific focus on Ghana. This article concludes that while film exhibition, censorship and licensing stimulated the growth of art, particularly cinema, they further inflated the colonial imperial agenda in the Gold Coast.

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Kearns, Edward A. "Words Worth 1,000 Pictures: Confronting Film Censorship." English Journal 86, no. 2 (February 1, 1997): 51–57. http://dx.doi.org/10.58680/ej19973334.

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Reviews a case of censorship of the film “1900” and suggests that teachers and scholars are not prepared to defend the viewing of legitimate and appropriate films against censorship campaigns. Examines the meaning of “community standards” and the relationship to state or national standards.

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Drubek, Natascha. "The Birth of Cinema in the Russian Empire and Film Censorship." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 8–21. http://dx.doi.org/10.17816/vgik948-21.

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The article analyses two closely interrelated research topics: the nature of pre-revolutionary film censorship and the question of the beginnings of cinema in Russia. Early film censorship cannot be studied without considering the arrival of cinema, and, vice versa, since the birth of cinema in the Russian Empire is related to the first cases of censorship. The author argues that the widely accepted date of 1907/8 as the starting point needs to be revised. Even before large-scale commercial production and distribution of feature films such as Stenka Razin, in different parts of the Russian Empire ample evidence of growing enthusiasm for the recording of movement can be found. Engineers, inventors, photographers, and showmen became fledgling filmmakers. The author bases her argumentation on the birth of cinema in Russia mainly on examples dating back to the 19th century. During the festivities of Nicholas II coronation in May 1896 the French cinema apparatus clashed with the Imperial Police in Moscow. After Russian screenings of Lumires films containing a selection of moving images of the Emperor, the Russian court took matters in their hands and started producing their own Royal films - both private home movies and those chosen for public screenings. This is the moment when a relatively stable, yet not public form of film production was established inside Russia continuing for two decades: the Tsar and his family being filmed by the court photographers Matuszewski, and later Jagielski. Some of these court film chronicles were also shown in cinema-theatres. The article also treats the reasons for the later suppression of these early Royal film production in Soviet historiography. While establishing a tight bond between Lenin and the film medium, Soviet film historians had to bury the pivotal role the Imperial court played in cinemas beginning in Russia. After having been the first object of foreign actualities in Russia, Nicholas II became not only a patron of Imperial film productions; moreover, the interference of Court censorship, overseen by the Ministry of the Interior, made clear that films shown and produced in Russia would have to deal with several censorship institutions protecting the representation of the sacred and regulating the free flow of information. The earliest example is the police confiscating a camera with film material shot by Lumires film reporters in Khodynka in May 1896. At this very early stage a procedure is set for the rise to a development of practices of film censorship.

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Dissertations / Theses on the topic "Film censorship"

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Barbieri, Maria. "Film censorship in Hong Kong." Thesis, Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1947118X.

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Xu, Shuo. "The Curious case of Chinese film Censorship: An analysis of the film administration regulations." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23166.

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The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. And, ironically, the films censored in China often gain great fame outside of China becoming worldwide blockbusters. This study will look at how those films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher. The study will also analyze how the combination of government control and market forces influence the Chinese film industry and its production.

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Smith, Sarah J. "Angels with dirty faces : children, cinema and censorship in 1930s Britain." Thesis, University of Strathclyde, 2001. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21168.

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Over the last two centuries, a succession of childhood pursuits has been blamed for deterioration in children's health, morality, education and literacy, as well as increases in juvenile delinquency, yet there has also been a constant voice in opposition to these charges. In Britain this debate reached something of a climax in the 1930s, due to the massive growth of cinema and its huge popularity with young people. This thesis aims to explore all aspects of the controversy surrounding children's cinemagoing in the thirties, with a particular focus on the mechanisms used to try and control or contain children's viewing, together with an assessment of the extent to which these mechanisms were successful. Its main arguments are that while concerns about child viewers motivated the development of film censorship practices in Britain and elsewhere, the debate is too complex and varied to be seen as a straightforward moral panic. In addition, it argues that, despite the attempts of the BBFC and others, children were essentially the regulators of their own viewing, as they frequently subverted or circumvented the largely ineffectual mechanisms of official cinema regulation. Moreover it suggests that, in a period when school, home and even leisure tended to be strong on discipline, the cinema was colonised by children as an alternative site of recreation. Matinees in particular were the birthplace of a new and somewhat subversive children's culture, which only started to be `tamed' with the introduction of more formal children's cinema clubs towards the end of the decade. Finally, the productive nature of the debate surrounding children, cinema and censorship is explored in a cases tudy of the 1930s MGM Tarzan films, which assesses the extent to which issues relating to the child audience may have helped to shape a genre.

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Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.

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Esquivel-King, Reyna M. "Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601229993353.

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Lewis, Sian. "Local government and film censorship : the control of film exhibition in England and Wales, 1909-1939." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251038.

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Kimber, Shaun. "'Looking beyond the obvious' : the censorship of film violence within contemporary Britain." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339962.

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So, Mei-fong. "The feasibility of implementing industry self-regulation of film censorship in Hong Kong." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36411255.

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So, Mei-fong, and 蘇美芳. "The feasibility of implementing industry self-regulation of film censorship in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36411255.

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Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.

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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government led censors to target communist films, foreign governments’ official films, and films echoing local political events. Among these films, those from China remained the primary target. During the period of political censorship, the Hong Kong government ignored the needs of local viewers and focused on reacting to external forces. The second chapter examines how in the 1960s local communists launched two campaigns against the suppression of Chinese films. It argues that the campaigns in 1965 and 1967 showed the influence of the Cold War, as these communists threatened the Hong Kong government that continued suppression of Chinese films would worsen Sino--‐‑British relations. It explains why the 1965 campaign succeeded in forcing the government to adjust its policy towards Chinese films but the one in 1967 did not. Since the late 1960s, Cold War tensions had been easing, particularly between China and Britain. The importance of political censorship and the external aspects of film censorship in Hong Kong started to diminish. Setting the stage for the localisation of film censorship in the 1970s, Chapter Three explores another duty of film censors in the 1960s, to examine sex and violence. By studying the debates about film classification and the censorship of the local film Death Valley (Duanhungu 斷魂⾕谷), this chapter argues that the government did not understand the goals of moral censorship even after examining films for more than twenty years. And it still did not sincerely engage with the Chinese population. The final chapter, on the 1970s, shows how the easing Cold War tensions directed the Hong Kong government to focus on moral censorship of films that was in accordance with the other social policies such as fighting prostitution and violent crime. Localisation of film censorship was followed by comprehensive reforms. The 1970s witnessed the government’s first serious attempt to engage the Chinese public in censoring films.
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Books on the topic "Film censorship"

1

Canadian Broadcasting Corporation. International film censorship. Montreal: CBC Transcripts, 1985.

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Williams, Bernard, ed. Obscenity and Film Censorship. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9781316286753.

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Ruth, Petrie, ed. Film and censorship: The Index reader. London: Cassell, 1997.

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Jane, Arthurs, and Harindranath Ramaswami 1959-, eds. The Crash controversy: Censorship campaigns and film reception. London: Wallflower Press, 2001.

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C, Robertson James. The British Board of Film Censors: Film censorship in Britain, 1896-1950. London: Croom Helm, 1985.

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1968-, Haberski Raymond J., ed. The Miracle case: Film censorship and the Supreme Court. Lawrence, Kan: University Press of Kansas, 2008.

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Baldi, Alfredo. Lo sguardo punito: Film censurati 1947-1962. Roma: Bulzoni, 1994.

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Jacobsen, Beate. Film- og videogramrett. [Oslo]: Tano, 1994.

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Centro cattolico cinematografico (Rome, Italy), ed. Tutti i film vietati ai minori in Italia. Roma: Ente dello spettacolo, 1993.

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C, Robertson James. The hidden cinema: British film censorship in action, 1913-1972. London: Routledge, 1989.

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Book chapters on the topic "Film censorship"

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Betts, Ernest. "Sense and the Censorship." In The Film Business, 142–46. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003458364-17.

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Forshaw, Barry. "Scourging the Unacceptable: Censorship Battles." In British Crime Film, 84–96. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137274595_8.

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Cerdán, Josetxo, Román Gubern, Jo Labanyi, Steven Marsh, Tatjana Pavlović, and Nuria Triana Toribio. "Censorship, Film Studios, and Production Companies." In A Companion to Spanish Cinema, 391–433. Oxford: Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch14.

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Signorelli, Valentina. "Chapter 16. Adaptation as defense against film censorship." In Where is Adaptation?, 271–86. Amsterdam: John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/fillm.9.17sig.

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Murray, Gabrielle. "Censorship, Film Festival Classifications and Pressure Groups." In Bad Boy Bubby, 25–41. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-36307-7_2.

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Rockett, Kevin. "Irish Film Censorship: Refusing the Fractured Family of Foreign Films." In Silencing Cinema, 207–20. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_13.

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MacLaird, Misha. "Censorship and Sensationalism: “el neotremendismo autoritario”." In Aesthetics and Politics in the Mexican Film Industry, 73–97. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_4.

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Kenny, Oliver. "British Film Censorship in the Twenty-First Century." In The Palgrave Handbook of Violence in Film and Media, 143–68. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05390-0_8.

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Harper, Sue, and Vincent Porter. "Censorship." In British Cinema of the 1950s, 217–42. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198159346.003.0012.

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Abstract As the 1950s opened, the film trade inherited a complex set of censorship arrangements that dated back to the 1909 Cinematograph Act which had accidentally given local authorities the power to censor the films shown in their area. Three years later, in 1912, in an attempt to establish a national standard that would ensure that the same film could be shown in every town, the trade established the British Board of Film Censors (BBFC), which would be ‘a purely independent and impartial body, whose duty it will be to induce confidence in the minds of licensing authorities and of those who have in charge the moral welfare of the Community generally’. The film trade’s proposal also attracted the tacit support of the Home Office, although it was unable to give formal endorsement as it no longer appeared to hold the legal powers for film censorship. In 1947, following the death of Lord Tyrrell of Avon, an ad hoccommittee representing all sections of the film trade appointed a new President of the BBFC: Sir Sidney West Harris, the former Head of the Children’s Department at the Home Office. Despite his age, Harris decided, unlike his predecessors, to become a hands-on President, taking an active part in both policy decisions and those affecting individual films, by sitting with the Board’s examiners to view films several times a week.

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Laine, Kimmo, and Kimmo Laine. "Film politics and censorship." In Finnish Film Studios, 149–69. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474446808.003.0007.

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This chapter discusses the relations of the state authorities and cinema from four perspectives: film as the object of taxation, film as an object of censorship, film as propaganda, and film as a means of doing national and international politics. Some of these perspectives concern film studios directly and some indirectly, either as active agents or as objects of the state’s politics, or both. Yet, each of these factors affected crucially to the preconditions and circumstances the studios operated in. Special attention is payed to the WWII years, when Finnish film industry was divided into two quarrelsome organisations: operating under the guidance of the German-led International Film Chamber, some of the distributors, cinema owners and production companies – including Suomi-Filmi and Suomen Filmiteollisuus – aimed at a total ban of Anglo-American films, while others wanted to keep on importing and screening American films. This chapter examines the various effects this dispute had on Finnish film industry and culture.

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Conference papers on the topic "Film censorship"

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Erawati, Meri, I. Ketut Surajaya, and Linda Sunarti. "National Film (Indonesia) 1970-1990s: Sex in Film, Censorship in Film and Power in Film." In Proceedings of the 1st International Conference on Social Sciences and Interdisciplinary Studies (ICSSIS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icssis-18.2019.70.

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Afsha, Syma, Mahmudul Haque, and Hussain Nyeem. "Machine Learning Models for Content Classification in Film Censorship and Rating." In 2022 International Conference on Innovations in Science, Engineering and Technology (ICISET). IEEE, 2022. http://dx.doi.org/10.1109/iciset54810.2022.9775816.

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Berardi, M., O. Altamura, M. Ceci, and D. Malerba. "A color-based layout analysis to process censorship cards of film archives." In Eighth International Conference on Document Analysis and Recognition (ICDAR'05). IEEE, 2005. http://dx.doi.org/10.1109/icdar.2005.2.

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Āboliņa, Daira. "Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.

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The research is focused on the development of the means of artistic expression applied in the cinema of a specific time period (1966–1989), analysing the films made at the Riga Film Studio (Rīgas Kinostudija), commissioned by the Central Television of the USSR. Both innovative and formal solutions can be found in the films of that era, especially considering the creation of the two-part format. The current publication focuses on the genesis of the artistic and production processes of the film “Lielais dzintars” (“The Great Amber”, “Dziesma par Rīgu” / “A Song About Riga”, 1972), in the context of the cinema development of that time, based on the documents of the Latvian State Archives of the Latvian National Archives. The inclusion of humorous elements in the film’s narrative, the use of music, visually impressive Latvian landscapes on the screen, an international cast corresponding to the scale of the USSR, was a way to sell the film to the customer. Riga Film Studio and its authors agreed to modify the script and film several times, subjecting themselves to artistic compromises. Censorship in the USSR realized its ideological goals by idealizing the Soviet man’s way of life, destroying the narrative and aesthetics of the film “Lielais dzintars”.

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Liu, Ting, and Xiao He. "An Overview of Research on Film Grading and Censorship in Major Countries of the World." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.156.

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Sridhar, Srivatsan, Onur Ascigil, Navin Keizer, François Genon, Sébastien Pierre, Yiannis Psaras, Etienne Rivière, and Michał Król. "Content Censorship in the InterPlanetary File System." In Network and Distributed System Security Symposium. Reston, VA: Internet Society, 2024. http://dx.doi.org/10.14722/ndss.2024.23153.

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