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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.published_or_final_version
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Donahue, Tyler. "El Cine De Terror Español Como Espejo De La Cultura Española." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500060/.
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This study traces the history and culture of Spain as seen through the lens of the nation´s production of horror cinema. Starting from the boom of Spanish horror film in the early 1960s, the thesis compares and contrasts the political and social aspects of Spanish society throughout three distinct eras of the 20th century: 1962 – 1975 (the boom of Spanish horror film through the Franco dictatorship), 1975 – 1999 (the transition to democracy through the end of the 20th century) and 2000 – present (the 21st century). Movies as diverse as Gritos en la noche (1962, Jesús Franco), ¿Quién puede matar a un niño? (1976, Narciso Ibáñez Serrador) and Angustia (1987, Bigas Luna) are framed by culturally-related anectodes as well as correlations to their respective social environments. Special attention has been paid to the production and release of each film, especially in regards to censorship during the Franco dictatorship. The results show that Spanish horror cinema has acted as a true mirror to culture, society and politics in its native country throughout the 20th century and that this trend will likely extend in to the future.
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Cole, Rachel Louise. "Reasonable Adults and Vulnerable Minors: A history of the media classification system in Australia." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20793.
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Media classification is now a largely uncontroversial practice in everyday life, but the means by which we arrived at our current processes for classifying media content have not been simple or straightforward. The history of these developments provides considerable insight into relations between popular culture, citizenship norms, and mechanisms of governance. This thesis is focused on the Australian case, which provides insight into the processes of Australian nation-building, given its origins in the first decade of the twentieth century and thus immediately after Federation, and how the concepts of majority and minority are still factors in creating the modern nation state. The contemporary Australian media classification system deals principally with film, television, videogames, and online media, offering audience guidelines as to suitable media content for different age groups. It additionally provides legal barriers restricting media content to specific age categories that signal ‘maturity’, such as at 15 and 18 years of age. These decisions are made by an independent statutory organisation that classifies media at a Commonwealth level, on behalf of State and Territory governments, using guidelines that are set by national legislation. Decision-making processes are indicative of technological shifts in media, changing social attitudes, and changes in the types of content available for consumption. In particular, the shift from primarily a system of censorship to one that foregrounds ‘classification’ has occurred as part of various forms of organisational adjustment as well as fluctuations of the classification categories themselves. This thesis takes an historical approach to what media classification is and does, observing the social conditions that have catalysed change in the Australian case. It is centrally focused on film as the medium with the longest history of censorship and classification, although it touches on other media where necessary. Utilising archival research in censorship and/or classification files to ascertain how decisions were made and textual analysis of influential or exemplary film content, this thesis is also concerned with how these archives represent changing cultural norms and social standards. An ‘analytics of government’ illustrates the diverse range of entities involved in classification, deploying a Foucauldian framework to analyse the many aspects of governance invested in the management of children and adolescents, drawing out two key concepts that have shaped the Australian media classification system: ‘minority’ and ‘sexual violence’. Through their representation, negotiation, and restriction in the processes of classification, these concepts have helped determine modes of media distribution and, consequently, media literacy, media reception, and media cultures. The film classification processes examined in this thesis provide an excellent example of the governance of not only modern media cultures but also modern society through media representations. Part of understanding how classification works has involved considering how and by whom classification decisions are made. As part of the current classification processes, bodies responsible for classification must take into account the standards of the community that classification serves. As part of this study I undertook interviews with the current classification authority, the Australian Classification Board (ACB) and their administrative arm the Classification Branch, to find out how board members made decisions on media content in late 2017 and early 2018. Current environmental changes as part of wider processes of media convergence mark an important time to observe classification procedures and methods, as accessibility and distribution rapidly diversify and bring forms and processes of regulation into question. Understanding Australia’s history of censorship and classification allows for a significant standpoint from which to consider the adaptation of processes in this period of regulatory flux and cultural change. This PhD project is the Australian part of an international study into classification systems, initiated by Prof Catherine Driscoll and Dr Liam Grealy, undertaken with the help of multiple partners across seven different countries and funded by the Australian Research Council as a Discovery Project (DP150101226).
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Miller, Caroline H. "eXplicit Content: A Discussion of the MPAA Film Rating System and the NC-17 Rating." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/582.
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The United States film industry is controlled by the Motion Picture Association of America (MPAA) and its six signatories--the major productions studios (Sony, Warner Brothers, Universal, Walt Disney, 20th Century Fox, Time Warner), and through this joint-partnership they have monopolized prime production, distribution, exhibition and classification of the U.S film market.
The objective of this project is to shed light on biases present in the MPAA rating system's treatment of sex and violence under the X/NC-17 rating in order to demonstrate the lack of viability of the system in today's world.
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Bachmann, Anne. "Locating Inter-Scandinavian Silent Film Culture : Connections, Contentions, Configurations." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-96162.
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The thesis revisits film and film-culture history in Sweden, Denmark and Norway with a view to discourses and practices of the inter- and trans-Scandinavian in the silent era. Excluding the earliest films, but including the transition to synchronised sound, it covers the period of the 1900s to 1930 with emphasis on the 1910s and 1920s. The thesis identifies notions about the relations between the Scandinavian and the national by means of a number of case studies based on textual historical sources. As a consistent Scandinavian perspective on this period is new, the investigation substantially supplements and revises the individual national film histories of these countries. It adds missing context to national developments and makes visible border phenomena such as transnational collaborations and co-producing practices. The thesis finds that film production in Scandinavia in the silent era was orientated towards one of two poles, at times combined or in a state of negotiation: international economic ambitions or national cultural aspirations. The latter was frequently conceptualised as northern, Nordic and Scandinavian. ‘Scandinaviannesses’ performed when drawing on nature, folklore, literature and heritage, not least that of Norway, were employed for use in and out of Scandinavia by means of strategies of ‘double-entry book-keeping’. During the period, the notion of location underwent changes from an illusory, theatrical device to an inherently meaningful entity carrying identities infused with the Scandinavian. Examining the effects of shared comprehension of language and a shared recent history of Scandinavist ideas, the thesis identifies instrumental notions of kindredness and senses of cultural proprietorship extending to the output of the neighbouring countries. These notions were mobilised selectively within film culture and motivated practical transnational collaboration from the side of the authorities as well as in trade organisations.
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Chinen, Biesen Sheri Lynn. "Film noir and World War II : wartime production, censorship, and the "red meat" crime cycle /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Ooten, Melissa D. "Screen strife: Race, gender, and movie censorship in the New South, 1922--1965." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623484.
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In 1922, Virginia's General Assembly created a Motion Picture Censorship Board, which viewed every movie seeking legal exhibition in Virginia until 1965. This cultural regulation of popular culture complemented other economic and political policies of the state designed to buttress the power of white, middle-to-upper class elites within the state. to this end, the censors, empowered by the authority of the state, were particularly concerned with regulating certain images of African Americans and female sexuality on-screen.;Yet the process of censorship was a contested, fluid practice, and individuals and community groups protested formal censorship decisions. Furthermore, filmmakers whose films were not allowed to play in the state often took more covert methods to get their films show. African-American filmmaker Oscar Micheaux continually worked with theater owners to get his officially censored fare shown to Black communities despite a state ban against them. While censorship decisions, despite contestation, stood unimpeded in the 1920s and 1930s, by the end of the World War II, many Virginians no longer accepted the cultural authority afforded the censorship board. A wide variety of groups protested the board's censorship of the anti-Klan film The Burning Cross in 1947.;With rising civil rights protests, waning movie profits, and federal court decisions which continually expanded First Amendment protections to the movies, the work of the censorship board was continually constricted until, by the early 1960s, the censors only had the legal authority to censor ambiguously-labeled "obscenity" from the screen. In 1965, the U.S. Supreme Court ruled that "a priori" censorship which determines whether a movie is or is not suitable prior to its exhibition, was unconstitutional. as a result, Virginia's censorship board disbanded, and the General Assembly officially dissolved it in early 1966. Virginia's moviegoers enjoyed a brief interlude in which most any material could be found on some theater screens, including the hardcore pornographic film Deep Throat (1972). In 1973, however, the U.S. Supreme Court returned jurisdiction over such material to local authorities in the Miller v. California ruling. Thus film and other cultural offerings could be deemed acceptable in some locales yet forbidden in others.
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Wagner, Jessica Lauren. ""An unpleasant wartime function" race, film censorship, and the office of war information, 1942-1945 /." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7147.
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Thesis (M.A.) -- University of Maryland, College Park, 2007.Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Hope, Cathy, and n/a. "A History of the Sydney and Melbourne Film Festivals, 1945-1972: negotiating between culture and industry." University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20050630.130907.
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This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.
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Wang, Sijie. "Criticism, Censorship, Influence on Newswork: A Content Analysis of How Film Reviews Published in Photoplay Magazine Changed after Motion Picture Producers and Distributors of America's 1934 Censorship." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1399459519.
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Chasse, Hilary Marie. "Youth in China: An Analysis of Critical Issues Through Documentary Film." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2969.
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Thesis advisor: Christina KleinThe cultural face of modern China is constantly changing, whether through economic reforms, political campaigns, or social values. The ultimate inheritors and current carriers of this society in flux is the current post socialist, post 1989 youth generation. This paper examines the cultural changes that are occurring in China through six documentary films made in the 21st century that focus on youth and young adults as the representatives of the issues that the directors explore. In two films, the issue of the Single Child Policy will be examined in terms of the social repercussions the policy has created for modern youth, including gender, ethnic, and class inequalities. In the next two films, the economic conditions that have produced millions of migrant examined as it relates to the changing family values in much of China. The last two films explore the consumer culture of today’s modern youth, and how this culture impacts the expressive output of this generation. I conclude through these films that although the youth of today have been irrevocably shaped by these, and other, cultural changes that have occurred during their lifetime, they are still most fundamentally influenced by the traditional values of Chinese culture including relationships, family, and collective expression
Thesis (BA) — Boston College, 2012
Submitted to: Boston College. College of Arts and Sciences
Discipline: International Studies Honors Program
Discipline: International Studies
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Vai, Federica. "Celare e ricreare. La manipolazione dei film stranieri tramite il doppiaggio nell'Italia fascista." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/22869/.
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The aim of this paper is to analyse film censorship in Italy during fascism, focusing mainly on foreign products and their manipulation through dubbing. The first chapter presents an overview of the regulations regarding film censorship issued during the dictatorship, as well as the transformation of the regime's approach towards cinema during those twenty years. The second chapter focuses on the introduction of foreign films in Italy and their subsequent translation. Starting from the figure of the imbonitore, the text mentions all the methods of translation used during those years, giving particular importance to the procedures employed since the arrival of sound cinema, to finally describe dubbing. The third chapter offers examples of cuts and manipulations performed on foreign films during the fascist regime, exposing the practical consequences of the theoretical aspects explained in the previous chapters. As the reasons that could lead to the alteration of a work could be different, the cases have been divided according to the causes that provoked their censorship. Finally, the last chapter presents the situation of film revision in Italy in the period starting from 1943 until the immediate post-war months. Subsequently, the text presents an overview of the most relevant laws about film regulation issued between the instauration of the Italian Republic and the present day. This is useful to observe, on the one hand, the differences between the current situation and the historical period examined previously in the paper and, on the other hand, the influence that fascism had on the development of the film industry in Italy.
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Mereu, Carla. "The dub debate : film censorship and state intervention in the translation of foreign cinema in Italy (1923-1963)." Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.668528.
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Ho, Wing Shan. "How Far Can We Go: Popular Film and TV Drama in Post-1989 China." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/17937.
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295 pagesMy dissertation addresses two major issues in Chinese contemporary film and TV studies: the first is the proliferations of new forms of subjectivities and the state’s attempt to regulate them via the construction of an ideal citizenship on the film and TV screen; the second is to develop an approach to understand the political economy of screen culture (yingshi wenhua), as well as freedom and control in post-1989 China. My project investigates key contemporary state-sponsored (zhuxuanlü) and state-criticized/banned screen products as a way to explore socialist values advanced by the Chinese Communist Party, as well as the ways in which and the extent to which individuals are able to challenge them. The ways in which my project contributes to the fields of film and TV studies in China are fourfold. First, close readings of selected films and TV dramas inform us of three emergent forms of subjectivity that were previously theorized as a synthesized sublime subject. Second, I conceptualize qualities of the on-screen socialist spirit that the state uses to counteract the three new forms of subjectivity and maintain its superiority. Third, by discussing the state’s intervention and control on production and consumption of screen products, I reveal the state’s vested interests and individuals’ execution of agency in popular culture. This emphasis on state-individual interactions challenges the current focus on TV and film as merely a profit-oriented industry; it also unravels conflicted ideologies in screen products and questions the understanding of popular culture as mainstream culture. Fourth, by achieving the above tasks, my research exposes that the state’s tolerance of its citizens’ partial freedom is for the purpose of political stability.
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Quinn, Anthony Leo. "Juliet : a role in four movies." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10580.
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Over a period of sixty years, between 1936 and 1996, there were numerous filmed versions of Shakespeare’s Romeo and Juliet, but four in particular were made for and obtained a worldwide commercial release. George Cukor’s lavish production of 1936 with Norma Shearer as Juliet was the first feature length, big budget, ‘talkie’ of Shakespeare’s play to be made by a major studio and aimed at the cinema going public. Shearer remains, to this day, the only actress of the modern age who was a major film star when cast in the role of Juliet. In direct contrast to this, Renato Castellani’s Anglo Italian neo-realist, retrospective 1954 adaptation featured an unknown Susan Shentall, who had never acted before filming and, on completion of the film, retired and never acted again. Franco Zeffirrelli’s sweeping 1968 production with Olivia Hussey as Juliet was a worldwide commercial success and is still revered by many as being the authoritative film experience of the play. Baz Luhrmann’s1996 version, with Claire Danes playing opposite Leonardo DiCaprio, was initially decried as an affront to Shakespeare’s masterpiece and the director was accused of sacrificing the text for a highly stylised and bombastic shallow content. It is only recently that this film has been viewed by critics and academics alike in a more sympathetic and positive manner. These films, taken individually, present to us a particular performance of the ‘Juliet’ of Shakespeare’s text; but in addition to this they allow us a comparative study of the portrayal of Juliet as a celluloid reflection of the idealised woman shaped by the progressive demands of the contemporary phallocentric society in the western world. Patricia White examined this reflection theory in Feminism and Film and, in turn, referred to the studies of Molly Haskell and Marjorie Rosen in the early 1970s, and quoted them on the basis that film ‘reflects social reality, that depictions of women in film mirror how society treats women, that these depictions are distortions of how women ‘“really are” and what they “really want” ’(White 118). The theory explores the supposition that women are repeatedly and systematically portrayed in a catalogue of images that compels the viewer to see and accept them in a typology of roles which, according to White, reinforces the phallocentric ideology of women as an array of ‘virgins, vamps, victims, suffering mothers, child women and sex kittens’(White 118). A question that therefore arises and which is central to this thesis is how, specifically, has Juliet been portrayed in film? Has the Juliet of the screen been nothing more than an object of visual stimulation, an object of the scopophilic gaze and male sexual fantasy? If this is the case, how does this vary in each of the filmed versions listed? We must also consider how Juliet exists in relation to other characters in the play beyond her direct involvement with Romeo. Juliet’s role is pivotal within the play even though she does not have the most lines. She has a direct influence on Mercutio and his relationship to Romeo, even though Juliet and Mercutio fail to exchange a single line of dialogue in the entire play. Juliet’s relationship with Romeo is altered dramatically in the aftermath of Mercutio’s death. Juliet’s life is also influenced by her relationships with others such as the Nurse and Friar Laurence, each of whom will abandon her at some point in the play. How are these relationships played and interpreted in each of the films in question? One cannot write extensively of Juliet if one limits oneself to writing exclusively of her. Each of these characters and how they are portrayed needs also to be examined. So too must the directors, all male, be examined in some detail. How much do they alter the Juliet of Shakespeare’s text and for what purpose?
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Davis, William. "To make the better film movies, women's clubs and the fight over censorship in the American South, 1907-1934 /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-3/davisw/williamdavis.pdf.
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Burns-Watson, Roger Allen. "THE BIRTH OF A NATION AND THE DEATH OF A BOARD: RACE, POLITICS AND FILM CENSORSHIP IN OHIO, 1913-1921." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990809766.
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Whitehead, Aaron T. "The “Fatty” Arbuckle Scandal, Will Hays, and Negotiated Morality in 1920s America." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1469.
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In the autumn of 1921, silent film comedian Roscoe “Fatty” Arbuckle was arrested for the rape and murder of a model and actress named Virginia Rappé. The ensuing scandal created a firestorm of controversy not just around Arbuckle but the entire motion picture industry. Religious and moral reformers seized upon the scandal to decry the decline of “traditional” moral values taking place throughout American society in the aftermath of World War I. The scandal created a common objective for an anti-film coalition representing diverse social and religious groups, all dedicated to bringing about change in the motion picture industry through public pressure, boycotts, and censorship legislation. In the face of this threat, the film industry created the Motion Picture Producers and Distributors Association, with Republican strategist Will Hays as its president. Hays worked to incorporate moral reformers into his new organization, giving them an outlet for their complaints while simultaneously co-opting and defusing their reform agenda. Hays’ use of public relations as the means to institute self-regulation within the motion picture industry enabled Hollywood to survive the Arbuckle scandal and continue to thrive. It also set up the mechanism by which the industry has effectively negotiated public discontent ever since.
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Lockhart, Morgan B. "Tracing Hollywood’s Legacy of Self-Censorship through a Comparative Analysis of the Film Baby Face (1933) in its Censored and Uncensored Forms." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/323.
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In the early 1930’s the film business was booming and filled with sex, drugs, and scandal. All of that changed in 1934 with the enforcement of the Hollywood Production Code which effectively cleaned up the business into what most people today remember as classic Hollywood. By analyzing films from the Pre-Code era, and specifically Baby Face (1933), the roots of self-censorship in Hollywood can be traced to their current incarnation in the film business today.
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Odhammar, Fredrik. "Istället verka de ofta skadligt och förråande : Kunskapsanspråk gällande behovet av förhandsgranskning av film under tidigt 1900-tal." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190425.
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During the beginning of the cinema media era around the turn of 20th century, a debate prevailed in Sweden about the film’s harmful and negative moral impact on children and young people. This study aims to investigate the debaters’ knowledge claims regarding a preview of a publicly shown film and if it is related to their morality. The following questions were asked: 1. What knowledge claims are made in connection with the need for prior control over the film that is shown in public? 2. What is presented as the basis for the legitimacy of these knowledge claims? 3. How do these knowledge claims change during its path to legal text? 4. What was the relationship between the presented knowledge claims and a moral perception prevailing among the debaters? A debate paper, a parliamentary motion from 1909 and the public inquiry before the decision to create the Swedish Agency of Movie Censors were analysed with argumentation analysis and thematic analysis with a perspective of history of knowledge. This study points at various aspects such as medical, psychological, social structure and moral arguments, which were put forward as arguments for a regulation of the new film medium. The knowledge claims were justified by professional expertise, general knowledge, experiences from other countries and the debaters’ prior knowledge of the subject. A strong fear of ruining a good existing moral conception that exists in the growing generation emerges. The analysis describes a change in knowledge claims: the moral arguments diminish along the way towards the legal text. Furthermore, the study points at the necessity for continued research to increase the understanding of how legitimacy of knowledge is created by an influential group and then passed on.
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King, Everett T. "In the Shadow: Representations of the Stasi in Literature and Film from Cold War to Present." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617324535031658.
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Villessèche, Julie. "The Board and the Commission (1909-present) : study of a language criterion through film classification." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2084/document.
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Cette thèse pose la question du travail des examinateurs au travers des classifications britannique et française de films : au Royaume-Uni, le BBFC (British Board of Film Classification) est l’institution en charge de la classification des films ; en France, c’est la Commission de Classification des Œuvres cinématographiques qui s’en occupe. La problématique de ce sujet est : comment les pratiques des examinateurs et les évolutions sociales et institutionnelles ont façonné la création et le développement d’un critère langage au sein des systèmes de classification britannique et français ? En effet, selon les stéréotypes, ces classifications sont généralement mises en opposition : le BBFC est présenté comme une machine à compter les jurons, alors que la classification française est décrite comme étant libérale. Cette thèse vise à expliquer l’origine de ces stéréotypes et à mettre en lumière la place du critère langage au sein de ces classifications de filmsThis thesis wonders about the work of examiners within British and French filmclassifications: in the UK, the BBFC (British Board of Film Classification) is theinstitution in charge of film classification; in France, it is the Commission ofClassification of Cinematographic Works. The question here is: how have the work ofexaminers and institutional and societal evolutions shaped the creation and thedevelopment of a language criterion within British and French film classificationsystems? Indeed, stereotypically, those classifications are generally opposed: the BBFC is presented as a swearword-counting system, while the French classification is described as liberal. This thesis aims at explaining the origin of those stereotypes and at highlighting the true place of language within film classifications
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Zhao, Weiqing. "Pouvoir et espace - la censure cinématographique dans les concessions de Shanghai (1927-1943)." Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0917.
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Cette étude à l’intersection entre pouvoir et espace porte sur le contrôle du cinéma par les autorités des concessions, l’intervention de pouvoirs concurrents dans le champ du cinéma et les activités de l’industrie cinématographique entre 1927 et 1943. Dans les années 1920, Shanghai, en particulier par ses concessions, devient la capitale du cinéma en Chine. En 1927, les autorités de la Concession internationale et celles de la Concession française établissent l’une après l’autre un système de censure cinématographique en prenant en compte l’expérience de leurs métropoles ou de leurs colonies et coopèrent entre elles dans sa mise en œuvre. Pour maintenir les bonnes mœurs et l’ordre public, les censeurs examinent les films en fonction de critères qui relèvent de la morale publique, de la prévention de la criminalité, de la sensibilité nationale ou du rapport avec la politique. Le cinéma en effet n’est pas seulement un outil de divertissement. Il devient aussi un enjeu de la lutte croissante entre les divers pouvoirs. Ainsi les autorités chinoises utilisent le nationalisme en manipulant l’émotion populaire et parviennent à orchestrer des mouvements de protestation « spontanée » pour s’emparer du droit de censure dans les concessions. Le Japon, acteur clé dans l’histoire moderne de la Chine, joue également un rôle dans ce tableau. Avec l’occupation du territoire chinois de Shanghai à partir de 1937, dans la mesure où l’armée japonaise considère le cinéma comme un outil de propagande, elle cherche à contrôler ce secteur. Les autorités des concessions doivent adapter leurs critères de censure au gré des mutations politiques, sociales et culturelles afin de préserver la stabilité sociale ainsi que leurs propres intérêts. Ces mesures ont une influence sur l’industrie du cinéma qui doit trouver un équilibre entre le contrôle exercé par divers pouvoirs et le marché. Une culture spécifique du cinéma s’est ainsi construite. Cette étude entend analyser à la fois l’évolution du système de censure cinématographique et son influence sur l’industrie cinématographique dans le contexte historique, culturel, ethnique, économique et politique de Shanghai entre 1927 et 1943This study at the crossroad of power and space focuses on the control of films the authorities of the foreign settlements implemented in Shanghai, the intervention of competing powers in the field of cinema and the activities of the film industry under their control between 1927 and 1943. In the 1920s, Shanghai, and particularly its settlements, became the capital of cinema in China. In 1927, the authorities of the International Settlement and the French Concession both established a system of film censorship that drew on the experience of their metropolitan states or their colonies and began to cooperate in its implementation. To maintain a sound moral environment and public order, the censors examined the films based on criteria such as morality, crime prevention, national sensitivity or politics. Movies were not only a means of entertainment, but also a major issue in the growing struggle among various authorities. In order to take hold of the right of censorship in settlements, the Chinese authorities took advantage of nationalism by manipulating popular emotion and succeeded in provoking campaigns of “spontaneous” protests. In such a context, Japan, a key player in modern Chinese history, also played an important role. After the occupation of the Chinese territory of Shanghai in 1937, the Japanese army, considering that movies were a means of propaganda, tried to control the film industry in Shanghai. The settlements’ authorities had to adapt their censorship criteria to political, social and cultural changes in order to maintain social stability and ensure their own interests. These measures influenced the film industry which had to find a balance between the control by various powers and market forces. A specific film culture thus emerged. This study aims at analysing both the evolution of the film censorship system and its influence on the film industry in the historical, cultural, ethnic, economic and political context of Shanghai between 1927 and 1943
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Stankiewicz, Kathleen Lynn. "UNCENSORED: GENDER ROLES AND THE DISMANTLING OF THE MOTION PICTURE PRODUCTION CODE." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1344343939.
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Gustafsson, Tommy. "En fiende till civilisationen : manlighet, genusrelationer, sexualitet och rasstereotyper i svensk filmkultur under 1920-talet." Doctoral thesis, Lunds universitet, Historiska institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-8945.
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The setting for this study is Swedish film culture of the 1920s, which has been studied with a focus on representations of masculinity and gender relations according to four themes: 1) children and youth 2) fatherhood and love 3) sexuality and popularity 4) ethnicity and racial stereotyping. The rise of new consumer culture in the first decades of the 20th century created turmoil between traditional and modern values, not least when it came to conceptions of gender. Studies on masculinity have often directed its efforts towards writing a history of ideals, bound by the concept of hegemonic masculinity; a concept that exclude women as insignificant for the social construction of masculinity. One ambition with this thesis has been to counter the long-lasting concept of hegemonic masculinity, and in the process, try to build a bridge between men and women studies. One other ambition has been question the canonisation of the “Golden Age” of Swedish silent filmmaking by introducing the concept of “the pluralism of film”, and by using a vast material including: Swedish feature films, reviews, articles from fan magazines and trade paper, screen plays, censorship cards, official reports, etc; thereby circumventing the concept of film as “art” in order to focus on film as representation in a more reliably way. One conclusion is the revelation of the diversity that surrounds social constructions of masculinity and gender relations in both film culture and society. In addition, Swedish film of the 20s hardly contained any male characters that upheld the hegemonic ideal, giving way to a more prominent presence of strong female characters, often in the shape of the New Woman. Women did as well have a great influence on the formation of masculinity. However, a notion of a Swedish normative masculinity became visible when contrasted with numerous racial stereotypes, such as malicious representations of Black people and Travellers. The emphasis on gender relations, rather than on ideals, has also contributed to a wider understanding of gender, where criteria such as generation, class, ethnicity and sexuality ought to be included. When it comes to the canonisation of the “Golden Age”, a strong notion exists about the integrated use of nature in film narratives as being a Swedish national trait, when in fact this could be linked only to a few films. If one would point out a trait that permeates Swedish film of the 1920s, it would not be the use of nature, but instead the flagrant racism and xenophobia.
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Goret, Lea. "Produire et voir du cinéma en régime autoritaire : censure et spectateurs dans l'Espagne franquiste (1946-1960)." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC014.
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Dès le début du XXe siècle, le cinéma devient un des médias privilégiés pour diffuser l’information et mettre en scène la fiction. Comme d’autres régimes autoritaires, l’Espagne franquiste (1939-1975) prend conscience de la nécessité de contrôler ce mode de communication et se dote d’un puissant appareil censorial. Parallèlement à leurs interventions sur les scénarios et les pellicules, les censeurs franquistes s’assurent que les spectateurs ont correctement interprété les œuvres qu’ils ont censurées. Tous les mois, entre 1946 et 1960, les délégués provinciaux leurs envoient des rapports détaillant l’accueil des films par le public de leur province. A travers l’étude de ces sources originales, cette thèse ambitionne ainsi de renouveler l’approche traditionnelle de la censure franquiste. Elle repose sur l’hypothèse que les pratiques censoriales obéissent aux perceptions que les acteurs ont des attentes tant du public que des ambitions idéologiques, artistiques et commerciales du régime. L’analyse de ces enquêtes permet d’appréhender les modalités à travers lesquelles les publics sont approchés par les autorités censoriales et d’évaluer leurs effets sur la pratique des censeurs. En étudiant les différents points de vue d’acteurs qui sont constamment en interaction, ce travail s’intéresse à la circularité des discours censoriaux et réceptifs et à leurs capacités d’influence mutuelle. Les relations entre la censure et la réception cinématographique sont interrogées autour de trois axes : la réception rapportée aux censeurs par les informateurs du régime, à travers l’analyse des discours présents dans les rapports provinciaux ; la réception imaginée par les censeurs, grâce à l’étude de leurs discours sur les publics au sein des sources administratives ; et enfin, l'expérience réceptive des spectateurs, en étudiant l’environnement cinématographique en contexte autoritaire, qui influe sur leur réception du cinéma nationalFrom the beginning of the 20th century, cinema became one of the privileged media for disseminating information and staging fiction. Like other authoritarian regimes, Franco's Spain (1939-1975) became aware of the need to control this mode of communication and equipped itself with a powerful censorial apparatus. In parallel to their interventions on scripts and films, Franco's censors made sure that spectators correctly interpreted the films they censored. Every month, between 1946 and 1960, the provincial delegates sent them reports detailing how the films were received by the public in their province. Through the study of these original sources, this thesis aims to renew the traditional approach to Franco's censorship. It is based on the hypothesis that censorial practices obey the actors' perceptions of the public's expectations as well as the regime's ideological, artistic and commercial ambitions. The analysis of these surveys enables us to apprehend the modalities through which audiences are approached by the censorial authorities and to evaluate their effects on the censors' practices. By studying the different points of view of actors who are constantly interacting, this work is interested in the circularity of censorial and receptive discourses and in their capacities of mutual influence. The relations between censorship and cinematographic reception are questioned around three axes: the reception reported to the censors by the regime's informers, through the analysis of the discourses present in the provincial reports; the reception imagined by the censors, through the study of their discourses on audiences within the administrative sources; and finally, the receptive experience of the spectators, by studying the cinematographic environment in an authoritarian context, which influences their reception of national cinema
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Bernsmeier, Jordan. "From Haunting the Code to Queer Ambiguity: Historical Shifts in Adapting Lesbian Narratives from Paper to Film." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386011853.
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Morgan, Daniel. "Du crime de guerre au fait divers ˸ la justice pénale, un enjeu politique dans le cinéma français, 1945-1958." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA124.
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Le cinéma français de l’après-guerre, largement apolitique, laisse pourtant surgir des questionnements autour de la remise en place de l’État de droit dans ses représentations de la justice pénale. Point de rencontre entre l’individu et l’État qui doit rétablir sa légitimité après les abus et les exactions du régime de Vichy, la justice représente un thème épineux pour les cinéastes, d’autant plus que le cinéma est à cette époque un moyen d’expression hautement surveillé, censuré et toujours associé à la propagande des régimes totalitaires. À partir d’un corpus de quarante longs métrages de fiction, l’objectif de cette étude est d’analyser les représentations des tribunaux, des forces de l’ordre, des prisons, du crime et du châtiment par le média de masse le plus important de l’époque, avant que la Nouvelle Vague n’entraîne une transformation de l’industrie et de l’esthétique cinématographiques et que la télévision atteigne un public plus nombreux encore. Les critiques dans la presse, les archives de la censure publique ou encore les bandes d’actualités qui abordent ces mêmes thèmes font partie des sources utilisées dans cette étude pour replacer dans leur contexte historique les images de la justice dans le cinéma de fiction. Souvent dépolitisés, parfois propagandistes, en quelques cas subversifs, ces films permettent de délimiter le périmètre d’expression possible autour de ce thème intrinsèquement politique dans la France des années 1940 et 1950. Ils fournissent un aperçu de la morale, des idéaux, des tabous, des espoirs et des peurs d’une société qui a rétabli la démocratie, mais qui commence à interroger la violence de ses propres pratiques de maintien de l’ordreAlthough French cinema from the period following World War Two is known for being largely apolitical, its images of criminal justice allow for a glimpse of the difficult questions that the postwar society was forced to ask itself about its return to the rule of law. As a point of conflict between the individual and the state—in a state attempting to reestablish its legitimacy—criminal justice was a delicate subject for filmmakers to address, especially since the cinematic medium, still seen as a means of propaganda and associated with totalitarian regimes, was strictly monitored and censored by public authorities. Using a corpus of 40 feature-length fiction films, this study attempts to analyze the representations of law enforcement, courts, prisons, crime, and punishment in the most important mass media of the era, before the transformation of the film industry by the New Wave and the spread of television to a substantial audience. A range of primary sources, from film reviews in the press to public censorship archives and newsreels dealing with similar themes, help to place the feature films’ images of criminal justice in their historical context. Often depoliticized, sometimes propagandistic, occasionally subversive, the films reveal the possibilities and the limits of expression on an intrinsically political topic, in the film industry and more broadly in 1940s and 1950s French society. They expose the morals, ideals, taboos, hopes and fears of a nation that had recently reestablished democracy but faced difficult questions about the violence of its own methods of maintaining order
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Baker, Michelle Mary. "Policing Publications: Sites of Censorship Classification Enforcement in New Zealand." Thesis, University of Canterbury. Sociology and Anthropology, 2006. http://hdl.handle.net/10092/916.
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This thesis focuses on the work of policing, regulating and monitoring of New Zealand public censorship classifications. It follows the processes and agents involved in the day-to-day practices of the enforcement of the classifications given to objects by the Office of Film and Literature Classification. Responsibility for the enforcement of the classification decisions of the Office is delegated to private agents and agencies involved in supplying audiences with classified media products - cinemas, video stores, bookstores and libraries. The thesis also documents enforcement undertaken directly by public agents of the Censorship Compliance Unit. In this case enforcement is concerned with unclassified publications circulating on the Internet. The thesis argues that the networks of agents assembled for the practices of enforcement evolve as the forms of media evolve or change. The thesis focuses on the modes of interaction between agents, media and publics enacted in the different sites of the cinema, the bookstore, the video store, the library and the Internet. It documents the work of enforcement involved in the purchase of images for a fixed period of time in the fixed site of the cinema; the purchase of books from the fixed site of the bookstore; the hire of video films and video games from the fixed site of the video store; and the borrowing of books and videos from the fixed site of the public library. It contrasts the work of enforcement in these different sites with the development of new work practices involved in the interactive, fluid and seemingly intangible yet still policed site of the Internet. It documents how the responsibilities for, and the practices of, enforcement shift between public sites of enforcement to the increasingly difficult public monitoring of the private consumption of images distributed through the media of the Internet. It pays attention to how different methods and strategies of enforcement have been developed in response to both the classification and consumption of the expanding variety of mobile media and the proliferation and consumption of images in the unclassified and fluid world of the Internet.
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Hagman, Johannes. "Representing War : Swedish Neutrality, Media Specificity and the Censorship of World War I Films." Thesis, Stockholms universitet, Institutionen för mediestudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105847.
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During World War I, war films became an important part of Swedish cinema programs. Newsreels as well as war related fiction films from the different battling nations were distributed to film theaters around the country. With these new films, the recently established censorship bureau also got new duties to consider. Aside from protecting public moral and the youth, the censors were now expected to uphold the Swedish neutrality policy in the domain of cinema. Material sensitive for diplomatic relations or potentially politically arousing for the audience was removed or edited. There were several reasons as to why cinema was singled out as the most important medium to control during these sensitive times. The authentic aura of moving images together with a fear of the reactions of mass audiences made the risk of biased propaganda seem greater. This thesis analyzes the complex web of relations between Swedish neutrality, media specificity discourse and censorship of World War I films. Examples of censorship of both newsreels and fiction films are discussed in relation to media specificity discourse in trade journals and daily newspapers of the time.
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Gaudenzi, Enrico. "Il cinema italiano e francese sulla prima guerra mondiale : una filmografia documentata (1914-2013)." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100092.
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L'objectif de ma thèse était de créer un catalogue de films de fiction relatifs à la Première Guerre mondiale produits en Italie et en France entre 1914 et 2013. Méthodologiquement, j'ai travaillé sur une variété de sources (répertoires cinématographiques, revues spécialisés, visas de censure et vision des films) selon la disponibilité des matériaux qui sont parvenus jusqu'à nous. J'ai essayé de proposer une enquête analytique qui comprend aussi des films qui se rapportent la guerre sans la montrer, pour cette raison mon travail sera sûrement incomplet mais il vise à une exhaustivité la plus grande possible. J'ai consacré une attention particulière à la censure exercée par |'État, en particulier jusqu’au les années `GD, une époque où la censure politique a été particulièrement forte. En plus de la censure définitive, j’ai aussi analysé celle préalable (en Italie de 1945 à 1965, en France de 1945 à 1961.] et en relevant deux attitudes qui sont similaires mais avec différentes méthodes d'intervention. Bien que l’enquête soit centrée sur les deux pays, l’espace donné à l’affaire italienne est supérieure à celui français. Le choix de la comparaison avec la France a été conditionné par plusieurs considérations, notamment la centralité qui, encore aujourd'hui, à la Première Guerre mondiale dans les cinémas et la public history française. L'évolution du récit cinématographique a été mise en relation avec le contexte politique, cinématographique, Législatif et historiographique; j'ai aussi essayé de comprendre la réception critique des films à travers deux facteurs : les résultats du box-office et les opinions exprimées dans les revuesThe aim of my thesis was to create a catalog of fiction films related to the First World War produced in Italy and France between 1914 and 2013. Methodologically, 1 worked on a variety of sources (movie collections, specialized magazines, rating and direct viewing of picture show), depending on the availability of materials which came to us. I have tried to propose an analytical investigation that also includes movies concerning the war without showing it; I am well aware my work will be certainly incomplete but it tries to be the more comprehensive possible. I have devoted a special attention to the censorious intervention exercised by the government, particularly until the early Sixties, indeed those years political censorship was very strong. In addition to the analysis of general censorship, I added that of prior one (in Italy 1945-65, in France 1945-61) and I found two similar attitudes but with different methods of intervention. Although the investigation is centered on the two countries, more importance will be given to the Italian CBSE instead of French one. The choice of comparison with France was influenced by several considerations; not least, the main point of the First World War has in both film and French public history even today. These factors have not been strange to the will to compare with the history of this country, considered as one of the most interesting. The evolution of fiction story has been put in relation with the political, cinematographic, and legislative and historiography background; I also tried to understand the film reception through two factors: the results of the box office and the opinions expressed in specialized magazines
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Da, Silva Eurydice. "Filmer sous la contrainte : le cinéma portugais pendant l’État Nouveau de Salazar (1933-1974)." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100073.
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De 1926 à 1974, le Portugal a connu la plus longue dictature d’Europe au XXème siècle. Aborder le cinéma portugais de 1933 à 1974, c’est évoquer un système autoritaire qui allie propagande, censure et répression, outils d’exercice de pouvoir de l’État Nouveau (Estado Novo) instauré par António de Oliveira Salazar. À travers l’analyse de documents d’archives inédits, cette thèse se propose de déterminer l’impact du contexte politique dans le milieu cinématographique pendant l’État Nouveau, tant dans le contenu de la création filmique que dans les modes de production et de distribution. Nous donnerons à voir le mode opératoire de l’État pour encadrer, surveiller ou réprimer la production cinématographique, afin de comprendre la dynamique à l’œuvre entre cinéma et histoire pendant l’État Nouveau. Il s’agit également de sonder l’étendue de l’action de la censure dans le milieu du cinéma portugais, d’en comprendre la spécificité, les enjeux, et d’en observer les effets et leur évolution sur 48 ans de dictatureFrom 1926 to 1974, Portugal was ruled by the longest dictatorship in Europe in the 20th century. To tackle Portuguese film from 1933 to 1974 means evoking an authoritarian system which combines propaganda, censorship and repression, instruments of power used under the New State regime (Estado Novo), established by António de Oliveira Salazar. Through the analysis of unpublished archival documents, this dissertation proposes to determine the impact of the political context on the film community during the New State, in terms of film content as well as in production and distribution. We will study how the regime operated to oversee, supervise or repress film production, in order to understand the dynamic between cinema and history during the New State. We will focus on the censorship process in the Portuguese industry, to understand the specifics and challenges of the system and explore the outcomes and evolution over 48 years of dictatorship
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Silveira, Germán. "La résistance dans l'obscurité : le public de la Cinémathèque Uruguayenne pendant la dictature militaire (1973-1984)." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30015/document.
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Les années de dictature militaire (1973-1984) furent paradoxalement la période la plus importante dans l’histoire de la Cinémathèque Uruguayenne. En ces temps obscurs l'institution s’est forgé une réputation au niveau local et international sur la base d’un travail culturel indépendant. Malgré les circonstances répressives propres au régime, le public de la cinémathèque a montré des signes de vie publique et a participé activement à la création d'un espace symbolique de résistance. En ce sens, pendant la période de dictature, la Cinémathèque Uruguayenne va s’inscrire en tant qu’institution de médiation, comme un « nouveau » acteur culturel qui émerge dans des circonstances critiques particulières, pour assumer un rôle que ne l’avait pas été réservé jusqu'à ce moment-là. Ainsi, nous croyons que dans le contexte latino-américain des années 1960-70, le cinéma s’est transformé, suivant l’expression de Pierre Sorlin, en un « lieu de conflits » L’objectif principal de ce travail consiste donc en décrire, à travers le témoignage des abonnés qui assistaient aux séances programmées par l’institution tout au long de la période de dictature, le lieu social où se déroulait la réception. A la suite de l’approche historique des études de réception développée par la théoricienne américaine Janet Staiger, nous nous proposons de comprendre l’influence du contexte dans les formes de réception cinématographiques et de discerner les mécanismes à travers lesquels le public s’est approprié le cinéma comme un « espace de résistance culturelle », appellation que recevait la Cinémathèque à l’époqueThe years of military dictatorship (1973 – 1984) ironically turned into the most important period in the history of Uruguayan Cinematheque. Based on an independent cultural work, back in those dark times, the institution was able to consolidate a task acknowledged both locally as well as internationally. Despite the repressive circumstances of the regime, the public of the institution showed signs of a public life and actively participated in the creation of a symbolic space for the resistance. As a cultural mediation institution, the Cinematheque so appeared as a "new" actor emerging in specific critical circumstances to assume a role that it did not have in store until then. In this way, we believe that in the 70s and 80s Latin American context, cinema transformed into a “place of conflicts” (lieu de conflits), following Pierre Sorlin’s expression. The main objective of this work is to describe – through the testimony of the spectators who attended the films programmed by the institution during the dictatorship period – the social place where the reception occurred. Following the historical focus of the reception developed by American theorist Janet Staiger, we intend to understand the influence of the sociopolitical context in the ways of cinematographic reception and to discern the mechanisms whereby the public got hold of the cinema as a “cultural resistance space”, name given to Uruguayan Cinematheque back then
Los años de dictadura militar (1973-1984) se transformaron, paradójicamente, en el período más importante de la historia de la Cinemateca Uruguaya. En base a un trabajo cultural independiente, en esos tiempos oscuros, la institución supo consolidar una tarea reconocida tanto a nivel local como a nivel internacional. A pesar de las circunstancias represivas del régimen, el público de la Cinemateca mostró signos de vida pública y participó activamente en la creación de un espacio simbólico de la resistencia. Como institución de mediación cultural, la Cinemateca apareció así como un "nuevo" actor, que emergía en circunstancias críticas específicas para asumir un papel que no tenía reservado hasta entonces. De esta manera, creemos que en el contexto latinoamericano de los años 1970 a 1980, el cine se transformó, siguiendo la expresión de Sorlin, en un "lugar de conflictos." El objetivo principal de este trabajo es describir - a través del testimonio de los socios que asistieron a las funciones programadas por la institución durante el período de dictadura - el lugar social donde se desarrollaba la recepción. Siguiendo el enfoque histórico de la recepción desarrollado por la historiadora norteamericana Janet Staiger, nos proponemos entender la influencia del contexto socio-político en las formas de recepción cinematográfica y discernir los mecanismos mediante los cuales el público se apropió del cine como un “espacio de resistencia cultural”, apelativo que recibía la Cinemateca Uruguaya en aquel momento
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Soler, i. Alomà M. Encarnació. "La sarsuela en el cinema com a imatge del quotidià : 1896-1940." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/403462.
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Un dels més reeixits descobriments nascut a les acaballes del segle XIX, el cinema, marcà definitivament la societat aportant noves formes de comunicació i de relació social. Aquest nou art esdevindria no sols una font de distracció i coneixement sinó que, com qualsevol producció artística de l’ésser humà, deixaria una empremta que amb el temps mostraria la seva magnitud com objecte patrimonial.
Néta i filla de músics vaig aprendre a estimar la música, sense distinció. Per aquest motiu, lamentava el rebuig vers el conjunt d’un gènere centenari, la sarsuela, que tants esforços i lluita va comportar als seus autors, músics tan lloables com els que més, músics que s’hagueren de sentir-se titllats en to despectiu de “sarsueleros”. Hom pot comprovar que hi ha música de sarsuela de tan bona qualitat com la de les òperes; hi ha arguments de sarsuela absolutament refusables o excel·lents, com també n’hi ha d’òperes. Per aquests motius, el meu objectiu bàsic va ser l’intent de dignificar el gènere, reivindicar-lo com a espectacle popular, transformat i manipulat segons arbitri del poder dominant, com intentaré demostrar al llarg de la meva exposició.
Per què una societat que encara avui conserva aspectes que provenen de l’assimilació interna generada a través de molts anys rebutjava aquest espectacle? Per què aquest sentiment que la música feta a l’estranger és millor? Quins havien estat els mecanismes que havien arribat a generar en el subconscient col·lectiu aquesta afirmació?
Pel que fa al cinema, l’enorme interès desvetllat vers aquest camp d’investigació, de la que aquesta Facultat és un exemple, iniciat pel Dr. Miquel Porter i admirablement seguit per un important nombre de distingits professors i professores, alumnes ensems del doctor Porter, es presentava més planera. Però el problema es presentà en el moment en què vaig voler aprofondir a l’apartat de les sarsueles cinematogràfiques: en primer lloc –apart d’algun estudi posterior sobre una obra concreta – a la majoria de llibres d’història del cinema espanyol se solventava l’apartat dedicat a les sarsueles amb unes quantes línies. Hi havia una confusió enorme en relació a algunes obres que eren sarsueles, tipificades com a sainets, comèdies, musicals... Algunes d’elles, que provenien de sarsueles, ni tan sols hi figurava aquest origen. De moltes obres hi havia poques dades, només el títol i l’any de rodatge o estrena, amb unes línies sobre el contingut, però la majoria de vegades, res... En resum: la sarsuela hi era de pas.
Vist l’estat de la qüestió, calia emprendre la tasca en vàries vessants: la investigació de la sarsuela en si, dels seus orígens i producció, i dels films que es feren d’elles, amb els mateixos objectius i la interrelació entre ambdós gèneres populars.
La primera part de la investigació, la recerca dels llibrets originals, suposà una gran inversió de temps, donada la dispersió dels materials. Per a la segona part, calia cercar les realitzacions cinematogràfiques que es feren de les sarsueles, buscant-les a diverses filmoteques de l’Estat espanyol, feina gens fàcil, o cercar-les en col·leccions del mercat. La realitat fou molt colpidora: les obres dels primers anys del cinema s’havien perdut en la seva immensa majoria, ja no existien. Segons les dades que es donen a totes les estadístiques del cinema espanyol, de la primera etapa, corresponent al cinema primitiu, s’ha perdut prop del 98 % de la producció, dades susceptibles de desencoratjar vers l’obtenció d’una recerca acurada. Era necessari, doncs, fer un cens del que quedava a les filmoteques de l’Estat espanyol. Va ser enviada la demanda d’informació a totes elles i a les distribuïdores de cinema.
Conseqüència d’aquesta tesi ha estat l’estudi de totes les productores i directors que es dedicaren a filmar sarsueles a l’Estat espanyol, així com també a l’estranger. La tesi albira proporcionar una relació de la gran quantitat de films que les productores dedicaren a aquest camp, analitzar les sarsueles produïdes, quina fou la versió escollida per a la seva versió cinematogràfica i esclarir els films que són en realitat sarsueles, no comèdies, ni sainets, ni musicals, qualificatius genèrics emprats habitualment a les filmografies de cinema espanyol.
Una altra aportació de la tesi pretén destacar la primordial importància del teatre líric en la primera etapa del cinema primitiu espanyol deixant palès quines són les favorables interrelacions de dos gèneres populars, amb recursos a l’hora tan diversos, com són el teatre líric i el cinema que, no cal oblidar-ho, en els seus orígens no tenia so imprès al suport i per tant, depenia del so afegit, en directe o enregistrat.
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Tanaka, Elder Kôei Itikawa. "Inimigos públicos em Hollywood: estratégias de contenção e ruptura em dois filmes de gângster dos anos 1930-1940." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29082016-114306/.
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O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo.The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.
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Souza, Shirly Ferreira de. "O sertão como dado, São Saruê como aspiração : o documentário O País de São Saruê entre a utopia e a política." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280625.
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Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-16T20:30:56Z (GMT). No. of bitstreams: 1 Souza_ShirlyFerreirade_M.pdf: 9610915 bytes, checksum: e748f959f3b89fab5657c8d20404e3f2 (MD5) Previous issue date: 2010
Resumo: Um silêncio forçado. Sete anos de interdição (1971-1978) pelo Serviço de Censura e Diversões Públicas do regime militar. Vinte e cinco anos para finalmente ser acessível ao público (1979-2004). Eis a trajetória do documentário O País de São Saruê, de Vladimir Carvalho, lançado em 1971, cujo argumento é marcado pelo olhar sobre o sertão nordestino como uma região subdesenvolvida do país. A principal questão desta pesquisa é compreender essa trajetória à luz da memória e do esquecimento, ou seja, qual a imagem de Brasil que tanto o diretor quanto os censores buscaram deixar (ou ocultar) para as gerações futuras. Para tanto, abordaremos a construção do tema do subdesenvolvimento na narrativa fílmica e em que medida esta revela o engajamento político do diretor; quais as justificativas dos censores para interditar o filme; a repercussão dessa ação censória na imprensa da época; como o filme se apropriou da cultura sertaneja para construir uma narrativa política e ao mesmo tempo lírica e utópica, singular no campo do documentário brasileiro.
Abstract: A forced silence. Seven years of interdiction (1971-1978) by the department of Censorship and Public Entertainment of the military regime. Twenty-five years until finally it becomes accessible to the public (1979-2004). There it is the path of the documentary O País de São Saruê [The Country of Saint Saruê], by Vladimir Carvalho, launched in 1971, which is based on the view about the northern backcountry as an underdeveloped region of the country. The main goal of this research is to understand this path under the light of memory and forgetfulness; that is what image of Brazil that was tried to be left or disregarded by the author as well as by the censors to the future generations. Moreover, we will approach the construction of the theme on the underdevelopment in the filmic writing narrative and to what extension it reveals the director political engagement: what were the justifications of the censors to interdict the film; the consequences of this censor act in the press of the time; how the movie took over the backcountry culture to create a political narrative and at the same time utopian and lyrical, unique in Brazilian documentary field.
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Popescu, Alina-Georgiana. "Les films étaient en couleur mais la réalité était grise… : la censure dans la cinématographie roumaine sous Nicolae Ceaușescu (1965-1989)." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100070.
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Ce projet de thèse est centré sur l’étude de la censure en tant que processus socio-politique, révélateur des logiques individuelles et institutionnelles qui se conjuguent dans la réalisation d’un film. Cette recherche est axée sur la période 1965-1989, « l’époque Nicolae Ceaușescu », remarquable par la quantité de films censurés. Pour ce faire, nous avons consacré la première partie du travail à l’analyse de l’organisation de la cinématographie roumaine, considérée dans le contexte politique, social et économique d’après la 2de Guerre Mondiale et jusqu’à la chute du régime. Une attention particulière est accordée ici à l’évolution des institutions de contrôle de la culture ainsi qu’aux discours qui façonnent les normes de la création cinématographique. Pour comprendre les différentes formes que peut revêtir la censure, nous nous situons ensuite à un niveau intermédiaire d’analyse, celui des institutions. Nous avons ainsi identifié et analysé plusieurs structures, comme les studios de production, l’Association des Cinéastes, la Radio Europe Libre, la Securitate, dont les fonctions censoriales vont du guidage à la répression. Dans la dernière partie de cette analyse, nous nous penchons sur des cinéastes et des films importants de la période. Nous avons fait le choix d’analyser les trajectoires des réalisateurs les plus représentatifs de la période, par le prisme de leurs dossiers de surveillance établis par la police politique. La Securitate les surveille parce qu’ils ont en commun une vision « non-conforme » de la réalité socialiste ; ce faisant, celle-ci révèle ce qui était (in)désirable dans la réalité socialiste. Enfin, pour illustrer comment la censure affecte la matière des films, nous proposons l’analyse de quelques cas notoires de film interdits, mais aussi de films qui permettent d’exemplifier en détail différents tabous, diverses formes d’intervention ou les réactions des réalisateurs à toute sorte de pressions. Le fait de choisir la censure comme un angle d’analyse privilégié est utile pour comprendre les contraintes, les servitudes et les espaces de liberté des cinéastes, les contradictions, les dits, et les non-dits du régimeThis PhD project focuses on the study of censorship as a socio-political process, revealing the individual and institutional logics that conjugate in the process of filmmaking. The research analyzes the period 1965-1989, which is the "Nicolae Ceauşescu era", remarkable for the amount of censored films.In conducting my research, I dedicated the first part of the work to the analysis of the Romanian cinematography organization, considered in the political, social and economic context, from the 2nd World War until the fall of the Communist regime. Particular attention is paid here to the evolution of culture control institutions and to the discourses, especially those of the Communist Party leaders, which shape the standards of the film production. In order to understand various possible forms of censorship, I then approached an intermediate level of analysis, that of institutions. Thus, I identified and analyzed several structures such as production studios, the Filmmakers’ Association, Radio Free Europe and the political police, whose censorial functions varied from guidance to repression.In the last part of this work, I looked into filmmakers’ biographies and important films of the period. I chose to analyze the trajectories of the period’s most representative filmmakers through the lenses of their surveillance files made by the political police. The Securitate monitored them because they shared a "non-compliant" vision of the socialist reality; while doing so, the political police revealed what was acceptable or undesirable in that reality. Finally, in order to illustrate how censorship affects films, I propose the analysis of some notorious cases of banned film, but also of films that exemplify various taboos, detailed forms of intervention or reactions of the filmmakers to any kind of pressure. Choosing censorship as a main angle of analysis is useful for the comprehension of the filmmakers’ constraints, servitudes and liberties, but also the understanding of contradictions, of what is made visible or kept silently hidden by the regime
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Khedre, Mounira. "Naguib Mahfouz et Michel Houellebecq : deux romanciers face au tabou religieux. Le cas des Fils de la Médina [Awlâd Hâratinâ] et de Plateforme." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00831353.
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Le tabou est un sujet éminemment délicat dans le champ universitaire, car il appartient, en premier lieu, à la religion, et en deuxième lieu, à la vie sociale. D'après notre étude, le statut du tabou change, au fur et à mesure que le temps passe et que la technologie progresse. En d'autres termes, Internet permet la circulation de livres et de publications interdits et les rend accessibles au plus grand nombre d'intéressés. Par exemple, des œuvres comme Les Fils de la Médina [Awlâd Hâratinâ] ou Plateforme, peuvent être tout simplement lues en ligne partout dans le monde entier. Donc, la notion de tabou religieux qui a toujours dépendu de la culture de chaque pays et du rôle qu' y jouaient les religieux dans la vie politique, religieuse et sociale, risque d'être ébranlée, ou, tout au moins d'être influencée par une diffusion que les moyens technologiques ne cessent de rendre plus rapide.
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Ternes, Andressa Saraiva. "Aspectos permissivos e restritivos da relação da ditadura civil-militar com a inserção internacional do cinema brasileiro : a criação da Embrafilme e a atuação da censura de 1964 ao "Pra Frente, Brasil"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/71931.
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No início da década de 60, um grupo de jovens cineastas dispostos a mudar os rumos do cinema brasileiro e da própria realidade social e política de seu público despontava de forma inédita no cenário internacional, conquistando a crítica dos festivais de cinema europeus. Durante a década de 70, o grupo que ficou conhecido como Cinema Novo sofreu transformações em decorrência da política cultural do regime instaurado com o golpe de 1964. Com uma proposta de desenvolvimento industrial para o cinema brasileiro, a ditadura civil-militar criou, em 1966, o Instituto Nacional de Cinema (INC) e, em 1969, a Empresa Brasileira de Filmes (EMBRAFILME). Esta tinha como finalidade a divulgação do cinema brasileiro no exterior. Paralelamente, a atividade da censura selecionava o que o público interno deveria ver. Da mesma forma, era a censura que liberava a exibição no exterior das películas brasileiras, através da chancela “Livre para Exportação.” Dispostos a seguir com sua proposta verdadeiramente nacional de cinema brasileiro, determinados diretores do Cinema Novo decidiram-se por buscar o diálogo com o Estado. Como resultado, suas obras alcançaram êxitos internacionais não concedidos à outra ordem de produção cinematográfica. Notou-se que as obras de maior repercussão no exterior não apresentavam nenhuma proximidade com a propaganda oficial do regime empreendida no âmbito interno, como, a princípio, suscita a existência da EMBRAFILME. Ademais, mesmo os filmes sem qualquer vínculo com o Estado em sua produção passavam pelo seu crivo por meio da censura. Dessa forma, surpreende que a imagem do Brasil enquanto produtor de cinema tenha sido construída por películas aparentemente tão distantes das evidentes intenções do regime. Partindo da criação da EMBRAFILME e da atuação da censura em relação a esse conjunto de filmes, este trabalho busca investigar a relação da ditadura imposta em 1964 com a inserção internacional do cinema brasileiro até a obra de Roberto Farias Pra frente, Brasil.At the dawn of the 60s, a group of young cineastes keen to change the way Brazilian cinema was made and also willing to change the social and political reality of their public was standing out in the international scene, gathering much attention even from European film festivals critics. During the 70s, the group known as Cinema Novo (New Cinema) had to adapt to the regime’s cultural politics established in the 1964 coup d’état. Having a proposal of industrial development to the Brazilian cinema, the military and civil dictatorship created, in 1966, the National Cinema Institute (INC) and, in 1969, the Brazilian Movie Company (EMBRAFILME). Latter, aimed to take Brazilian cinema abroad. At the same time, the censorship selected what people in Brazil should watch. In the same way, it was also the censorship that unleashed the movies abroad by the tag Livre para Exportação (Free to Export). Willing to go on with its truly national Brazilian cinema core, some New Cinema directors tried to dialogue with the government. As a result, their movies reached international achievements not conceded to other cinematographic works. It was noticed that the most successful works in the international market had nothing to do with the official propaganda of the regime widespread in Brazil, as evokes EMBRAFILME`s genesis. Furthermore, even the movies that had no bond with the State on the production had to be approved by censorship. In that sense, it stands out that the image of Brazil as a cinema producer has been built by movies away from the regimes intentions. Starting from the origination of EMBRAFILME and the action of censorship on these movies, this work aims to investigate the relationship of the 1964 imposed dictatorship with the international insertion of Brazilian cinema until the Roberto Farias’s work Pra frente, Brasil.
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Scheffler, Lisa K. (Lisa Kathryn). "A Study in Cultural Conflict: the Controversy Surrounding Martin Scorsese's The Last Temptation of Christ." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278589/.
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When the filmed version of The Last Temptation of Christ was released in the United States, it met with significant protests from conservative Christians who felt it was blasphemous. Using the controversy surrounding the film and its reception in Austin, Texas, this is a case study in censorship as a social process and in the cultural conflict it signifies. Certain societal factors must converge to create an art controversy. Through an examination of the film, the groups involved in the protest, and the social and political climate at the time, some of these factors are described. Imbedded in this controversy are the underlying tensions that permeate many modern cultural debates: shifting ideas of the sacred and the profane and definitions of moral authority.
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MAINO, PAOLO MARIA GILBERTO. "LA LINGUA DELLA RASSETTATURA DEL DECAMERON DI LIONARDO SALVIATI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1802.
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La rassettatura del Decameron compiuta da Salviati nel 1582 è stata oggetto di dure critiche fin dal Settecento (tra i primi critici ad inizio Ottocento è da ricordare Ugo Foscolo): il grammatico fiorentino è sostanzialmente considerato un ‘pubblico assassino di Boccaccio’ che ha trasformato il capolavoro narrativo della letteratura delle origini in un moralistico elenco di vizi da punire e di virtù da ammirare.
Senza ovviamente negare la pesantezza dell’intervento censorio di Salviati (soprattutto per gli occhi di noi moderni), tuttavia l’analisi linguistica e filologica che si presenta in questa tesi di ricerca mostra come il vero intento di Salviati sia quello di salvare più testo possibile del Decameron e anzi di ripristinarne la corretta lezione dopo l’azione grossolana di tanti editori (soprattutto veneziani) della prima metà del 500. Oltre a questo recupero della lingua perfetta del XIV secolo, Salviati, sulla linea delle lezioni di Varchi e Borghini, ha anche inteso riporre al centro dell’italiano la supremazia della favella fiorentina anche nella sua versione moderna da lui spesso considerata come il cosciente completamento di quella del Trecento.Salviati’s rassettatura of the Decameron has been often considered by many critics only a censorship which thoroughly ‘kills’ Boccaccio and his masterpiece. What is nevertheless evident in this research is that Salviati wants, even if he was bound to a brutal censorship, to restore the true version of the Decameron both from the philological point of view and from the linguistic one. In particular Salviati wants to regain the supremacy on Italian language for Florence after Bembo and his Prose della volgar lingua (1525). The research is the result of a systematic and complete collation between Salviati’s Decameron and the sources which Salviati used: Borghini’s rassettatura, Mannelli codex, the first printed edition (the so called Deo Gratias), and the florentine edition of the 1527. From this collation and from the phonetic, morphologal and syntactical analysis of all the variants and in particular of Salviati’s choices it comes out Salviati’s true will which is twofold: first of all he wants to restore the language of the 14th century (the Mannelli codex), a perfect and sweet language, then he also wants to underline the supremacy of modern Florentines, true and only heirs of Dante, Petrarch and Boccaccio’s language and culture.