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Journal articles on the topic 'Film censorship'
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Pradsmadji, Shadia Imanuella, and Nina Mutmainnah. "Indonesian Cinema: The Battle Over Censorship." IKAT: The Indonesian Journal of Southeast Asian Studies 6, no. 1 (September 29, 2022): 17. http://dx.doi.org/10.22146/ikat.v6i1.71547.
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The practice of film censorship has been in Indonesia since the Dutch East Indies era. Since then, film stakeholders have always been the battleground, as the different values and norms generate different views and beliefs. The critical constructionism paradigm is used to examine the contestation of film censorship in Indonesia. Four films released after the enactment of the 2009 Film Law are used as the case study: The Act of Killing, The Look of Silence, Naura & Genk Juara, and Memories of My Body. Data collection was done through a collection of news reports and social media posts that discussed the four films used as the case study. In addition, interviews with four stakeholders were done, which were an alternative cinema manager, a representative of the Indonesian Censorship Board (LSF), a representative of the Indonesian Film Body (BPI), and a film actor/director. The research results indicated that different stakeholders have different views and interests regarding film censorship, which explains why the polemic of contestation over the film censorship policy happens. Some people believe that film censorship should exist, as it would give control over society. At the same time, some people believe that film censorship should be replaced by film classification as a form of freedom of expression. There are also arguments over the standards of film censorship. Academically, the research’s significance is to develop studies regarding film censorship polemic and its stakeholders’ contestation. In contrast, practically, the research may be used to formulate film censorship regulation and policy by evaluating factors that may cause conflict among film stakeholders.
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Goodman, Giora. "Censorship of Arab Cinema in the State of Israel, 1948-1967." Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 39 (December 31, 2023): 199–224. http://dx.doi.org/10.51854/bguy-39a158.
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This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their content. The censorship's dual purpose was to prevent Arab films from awakening the national and political consciousness of the Arabs living in Israel, and to distance Jewish immigrants from their Arab culture, in order to promote their assimilation into hegemonic Israeli culture. However, the censorship's attempts at political control over Arabs and cultural control over Jews was doomed to failure due to the emergence of a new means of communication and entertainment in the Middle East – television. This ended the cinema theaters' monopoly over the consumption of Arab films, and thus the Film and Theater Censorship Board's ability to censor them.
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Werenskjold, Rolf. "German pressure: Spy films and political censorship in Norway, 1914–40." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 365–89. http://dx.doi.org/10.1386/jsca_00009_1.
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This article explores the relationship between spy films, political censorship and Norwegian foreign policy during the period from 1914 to 1940. Espionage was a popular topic in Norway during this era, both in the news media and as a theme in fictional dramas. Based on a survey of the vetting of 57 spy films, both silent and sound, by the state censorship board, the article focuses on the Norwegian government’s hidden role in political film censorship throughout the period. While Norway’s Constitution and film censorship statutes provided no legal foundation for political censorship, there is nonetheless ample evidence that it took place. The article concludes with an in-depth analysis of the process of banning the US film Confessions of a Nazi Spy in July 1939, the German involvement in that process, and the subsequent effort to change the censorship law to reflect what was happening in practice.
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Goodman, Giora. "Film Censorship in Israel and the Cold War, 1948-1967." IYUNIM Multidisciplinary Studies in Israeli and Modern Jewish Society 37 (July 15, 2022): 121–46. http://dx.doi.org/10.51854/bguy-37a135.
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The article examines the impact of the Cold War on film censorship in Israel during the first two decades of the state and sheds light on the Israeli Film Censorship Board’s collaboration with other government bodies, above all the Foreign Ministry in the censorship of western anti-communist films, and to a lesser extent, Soviet anti-American films. Such Cold War-related film censorship was carried out in response to domestic criticism but also to prevent any possible damage to Israel's diplomatic relations, particularly with the Soviet Bloc, owing to the large number of films imported from the United States. In addition to discussing film censorship policies and practices, the article demonstrates the crucial impact of Cold War culture on the political world in Israel, particularly during the early years of the state. The article's main argument is that the diplomatic impetus for censoring Cold War films attests to Israel’s insecurity vis-à-vis its international status prior to the 1967 War as well as to the ultimately unsuccessful attempt by the government to preserve what was left of its deteriorating relations with the Soviet Bloc.
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Barber, Sian. "‘Lewd, pornographic filth’: Managing Culture through Local Film Censorship in Britain, 1948–1968." Journal of British Cinema and Television 21, no. 1 (January 2024): 53–74. http://dx.doi.org/10.3366/jbctv.2024.0699.
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Film censorship in the UK is predicated on a two-tier system whereby the British Board of Film Classification (formerly British Board of Film Censorship Censorship) (BBFC) recommends a classification for a film and this classification is then implemented by local authorities. In cases where local authorities disagree with a BBFC decision they can change the classification or ban the film entirely. Conversely, they can also screen a film which has no BBFC certificate. This local decision-making is permitted under the powers granted to local authorities to oversee cinema exhibition and licensing. Using The Snake Pit, Rock around the Clock and Ulysses, and offering a broad historical and geographic sweep, this article explores local council archives and local press reporting to map local censorship across the UK, drawing attention to inconsistencies in different areas and how councils justified the decisions they took on specific films.
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Mansour, Dina. "Egyptian film censorship." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 21–36. http://dx.doi.org/10.33178/alpha.4.02.
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Films are a representation and manifestation of culture; yet, since the early days of filmmaking public debates have questioned whether “the motion picture industry was morally fit to control the content of its own products” (Robichaux). Today, the Arab world is plagued by the same dilemma. In a region where government censorship is the norm, heavy restrictions are imposed on locally produced films as a means of “safeguarding” public norms, religion and culture. Also problematic in today’s globalised world is the influx of foreign films into local markets, which not only defy public norms, but also represent cultural values and traditions that are quite alien to societies that have been inherently religious and conservative. Against this background, this article aims to analyse the role of censorship in Egypt with regard to the relationship between cinema and culture—a relationship often overlooked and perhaps intentionally ignored. In doing so, it will examine how censorship has traditionally been used as a tool to control the representation of existing social and cultural realities and to define cultural and religious norms, thus also affecting the normative context.
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Mehta, Monika. "Reframing Film Censorship." Velvet Light Trap 63, no. 1 (2009): 66–69. http://dx.doi.org/10.1353/vlt.0.0032.
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Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)." Journal of African Cinemas 13, no. 2 (December 1, 2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.
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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thus, it is with this gap that this study attempts to fill and make a useful contribution to Ghanaian film history. The colonial experience set the basis for cinematic houses, film production, censorship, distribution and ideological concerns in African cinema. This study is framed within the relationship between cinema and history, with a specific focus on Ghana. This article concludes that while film exhibition, censorship and licensing stimulated the growth of art, particularly cinema, they further inflated the colonial imperial agenda in the Gold Coast.
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Kearns, Edward A. "Words Worth 1,000 Pictures: Confronting Film Censorship." English Journal 86, no. 2 (February 1, 1997): 51–57. http://dx.doi.org/10.58680/ej19973334.
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Reviews a case of censorship of the film “1900” and suggests that teachers and scholars are not prepared to defend the viewing of legitimate and appropriate films against censorship campaigns. Examines the meaning of “community standards” and the relationship to state or national standards.
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Drubek, Natascha. "The Birth of Cinema in the Russian Empire and Film Censorship." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 8–21. http://dx.doi.org/10.17816/vgik948-21.
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The article analyses two closely interrelated research topics: the nature of pre-revolutionary film censorship and the question of the beginnings of cinema in Russia. Early film censorship cannot be studied without considering the arrival of cinema, and, vice versa, since the birth of cinema in the Russian Empire is related to the first cases of censorship. The author argues that the widely accepted date of 1907/8 as the starting point needs to be revised. Even before large-scale commercial production and distribution of feature films such as Stenka Razin, in different parts of the Russian Empire ample evidence of growing enthusiasm for the recording of movement can be found. Engineers, inventors, photographers, and showmen became fledgling filmmakers. The author bases her argumentation on the birth of cinema in Russia mainly on examples dating back to the 19th century. During the festivities of Nicholas II coronation in May 1896 the French cinema apparatus clashed with the Imperial Police in Moscow. After Russian screenings of Lumires films containing a selection of moving images of the Emperor, the Russian court took matters in their hands and started producing their own Royal films - both private home movies and those chosen for public screenings. This is the moment when a relatively stable, yet not public form of film production was established inside Russia continuing for two decades: the Tsar and his family being filmed by the court photographers Matuszewski, and later Jagielski. Some of these court film chronicles were also shown in cinema-theatres. The article also treats the reasons for the later suppression of these early Royal film production in Soviet historiography. While establishing a tight bond between Lenin and the film medium, Soviet film historians had to bury the pivotal role the Imperial court played in cinemas beginning in Russia. After having been the first object of foreign actualities in Russia, Nicholas II became not only a patron of Imperial film productions; moreover, the interference of Court censorship, overseen by the Ministry of the Interior, made clear that films shown and produced in Russia would have to deal with several censorship institutions protecting the representation of the sacred and regulating the free flow of information. The earliest example is the police confiscating a camera with film material shot by Lumires film reporters in Khodynka in May 1896. At this very early stage a procedure is set for the rise to a development of practices of film censorship.
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Erwantoro, Heru. "SENSOR FILM DI INDONESIA DAN PERMASALAHANNYA Dalam Perspektif Sejarah (1945 – 2009)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 3, no. 2 (June 1, 2011): 365. http://dx.doi.org/10.30959/patanjala.v3i2.283.
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AbstrakBanyak persoalan di dunia perfilman Indonesia, antara lain masalahpenyensoran, khususnya periode 1945 – 2009. Penelitian masalah tersebut dengan menggunakan metode sejarah menunjukkan, bahwa penyensoran film yang dilakukan oleh pemerintah Republik Indonesia didasarkan atas kepentingan politik dan kekuasaan pemerintah. Dalam praktik penyensoran, film masih dilihat sebagai sesuatu yang dapat mengganggu dan merugikan masyarakat dan negara. Film belum dilihat sebagai karya seni budaya, akibatnya, dunia perfilman nasional tidak pernah mengalami kemajuan. Hal itu berarti penyensoran film yang dilakukan pada periode tersebut, pada dasarnya tidak berbeda jauh dengan masa kolonial Belanda. Pada masa kolonial Belanda, sensor merupakan manifestasi kehendak pemerintah untuk menjaga kredibilitas pemerintah dan masyarakat Eropa di mata masyarakat pribumi. Begitu juga sensor pada periode 1945 – 2009, sensor pun lagi-lagi menjadi ajang perwujudan politik pemerintah, tanpa mau memahami film dari persfektif para sineas. Kondisi itu masih ditambah lagi dengan mudahnya pelarangan-pelarangan penayangan film yangdilakukan oleh berbagai kalangan. Bagi para sineas, sensor fim hanya menjadi mimpi buruk yang menakutkan. AbstractThere are many issues in Indonesia’s movie industry. One of them is censorship,especially in the period of 1945-2009. This researh, supported by method inhistory, shows that censorship done by the government was based on political and governmental interests. The government thought that films could harm the society and the state as well. They do not think films as products of art and culture, ending up in the stagnancy in Indonesia’s movie industry. This situation more or less is similar to what happened in the time of Dutch colonialism. During that time censorship was manifestation of government policy in showing the credibility of European government and society before native Indonesians. During 1945-2009 censorship was also manifestation of government’s political policy without understanding films from the filmmaker’s point of view. Not to mention the movement to easily ban films by various group in the society. Censorship is a nightmare for filmmakers.
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Henry, Claire. "Awakening the film censors’ archive in [CENSORED] (2018)." Frames Cinema Journal 19 (February 18, 2022): 260–76. http://dx.doi.org/10.15664/fcj.v19i0.2388.
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[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Australian Film Censorship Board between 1958 and 1971, which historian and artist Sari Braithwaite uncovered in the National Archives of Australia. While the censored clips were archived alphabetically, Braithwaite curates them by motif, capturing the numbness generated by archivists’ and censors’ processes through repetitive bombardment of similar imagery in various categories of sex and violence. Compiling and re-categorising this trove of censored fragments produces a new perspective not only into past practices of censorship but more insightfully, into patterns of gendered dynamics and action in narrative cinema. Through feminist critical practice, Braithwaite deploys a ‘layered gaze’ and expands a critique of censorship to a critique of cinema. Braithwaite’s film mobilizes ‘productive misuse’ (Baron 2020), not for her original goal of damning censorship, but to reflect on cinematic fixations (including female nudity and sexual violence) and spectatorial implication. By suturing the censors’ excisions, Braithwaite draws attention to her own growing feminist ‘disenchantment’ (Elsaesser 2005) with cinema culture as she engages with the censors’ offcuts. [CENSORED] documents an awakening of – and from – the censors’ archive. The film evolves through sensory engagement with this archive, and in doing so, provides insight into the comparable – and sometimes complicit – processes of film spectatorship, censorship, and audio-visual archival research.
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Islam, Md Zahidul. "FILM RATING: A COMPARATIVE ANALYSIS IN MALAYSIA AND BANGLADESH." Asia Proceedings of Social Sciences 4, no. 1 (April 17, 2019): 7–9. http://dx.doi.org/10.31580/apss.v4i1.530.
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Film rating is a form of censorship where restrictions are imposed on the population on what films a person could view. The main purpose of this paper is to discuss the legal framework of film rating and current film rating process of Malaysia and Bangladesh. This paper also try to indentify the strengths and weaknesses of film rating process of both countries.The researcher mainly adopted qualitative methods. The information has taken from many readings, articles, books, newspapers and statutes. The researcher also conducted interview with the member of the film censorship board, directors and actors of both countries. People in the film industry in both countries accepted the need for film rating as guidance for individuals and parents in choosing film viewing.
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Erwantoro, Heru. "SEJARAH SENSOR FILM DI INDONESIA Masa Hindia Belanda dan Pendudukan Jepang (1916 – 1945)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 2, no. 1 (March 1, 2010): 1. http://dx.doi.org/10.30959/patanjala.v2i1.192.
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AbstrakBanyak persoalan di dunia perfilman Indonesia, salah satunya masalah penyensoran. Untuk menemukan akar permasalahan mengenai sensor film dilakukan penelitian sejarah dengan menggunakan metode sejarah. Dari penelitian ini didapatkan bahwa landasan (motif, tujuan, ideologi) yang berbeda yang diterapkan dalam penyensoran mengakibatkan hasil yang berbeda. Pada masa Hindia Belanda, dihasilkan film-film lokal yang bergenre Hollywood penuh dengan adegan seksual dan kekerasan. Film yang demikian itu, sebagai hasil dari politik pemerintah penjajahan Hindia Belanda yang menjadikan film sebagai media untuk merusak mentalistas rakyat Hindia Belanda. Sedangkan pada masa pendudukan Jepang, pemerintah sangat berkepentingan untuk mendapat dukungan dari masyarakat luas guna kepentingan perang melawan Sekutu. Maka, dihasilkanlah film-film dokumenter yang berbasiskan ilmu pengetahuan sebagai media propaganda yang dapat memaksimalkan mobilisasi rakyat. Kedua pemerintahan itu tidak bermaksud membangun dunia perfilman di Hindia Belanda, mereka hanya menggunakan film untuk kepentingannya masing-masing. AbstractThere are many problems in Indonesian film cinema, which one is censorship. For found to root of the censorship film problems done by history research with history method. From result of this research, we founded that different basic of motivation, goal, and ideology which applicated in censorship to result in different produc too. Era Ducth Indies, produced local films with Hollywood genre full of sexual and violence. Those films as produc from political colonial Hindia Belanda which films as media for disturbed mentality of Hindia Ducth people. Whereas era Japanese, the government needs support from the people for war winning versus America. So that, era Japanese occupation produced documenter films which siences based as propaganda media which can be maxima mobilization the people. Two of government not means to develop films sector, they use film only for interesting by self.
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Li, Haihong. "Periodicals and Rejected Silent Films in the Republic of China." Journal of Modern Periodical Studies 14, no. 2 (December 2023): 210–29. http://dx.doi.org/10.5325/jmodeperistud.14.2.0210.
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ABSTRACT This article focuses on the relationship between Chinese periodicals and film censorship in the era of the Republic of China (from 1912 to 1949) to show how periodicals of the time not only reflected the development of film censorship, but also acted as agents of change in the establishment of film censorship.
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Fong, Siao Yuong. "Imagining film censorship in Singapore: The case of Sex.Violence.FamilyValues." Asian Cinema 31, no. 1 (April 1, 2020): 77–98. http://dx.doi.org/10.1386/ac_00014_1.
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This article aims to rethink film censorship in Singapore by investigating how the agents involved in the Singapore Board of Film Censors imagine and represent its processes. Contrary to deterministic and structural approaches, I argue for the consideration of how specific events and practices articulate film censorship in Singapore in specific ways and how these, in turn, feed back into the process of censorship. Using the case study of Ken Kwek’s Sex.Violence.FamilyValues (2012), this article problematizes idealistic representations of the censorship system as an efficient machine made up of separate components with clearly defined functions. It finds instead that the complex agency based on contingent relations and identities make any form of overall structure in film censorship impossible. This inherent ambiguity of the censorship process has serious consequences for those involved in filmmaking and implications for our theoretical understandings of the so-called ‘Singapore New Wave’.
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Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand." Journal of Southeast Asian Studies 52, no. 4 (December 2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.
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Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.
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Gruszczyński, Oskar. "Taniec w kajdanach: chińska cenzura filmowa w latach 1949–1966." Gdańskie Studia Azji Wschodniej, no. 18 (2020): 103–19. http://dx.doi.org/10.4467/23538724gs.20.038.12875.
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Dancing in chains: Chinese film censorship, 1949–1966 After the proclamation of the People’s Republic of China in 1949, and the subsequent nationalization of the domestic film industry three years later, the Chinese Communist Party gained unlimited control over the entire Chinese film world, while film itself became an instrument of state propaganda. In order to fulfill their role ‘in the service of workers, peasants, and soldiers’, filmmakers had to abide strictly by the requirements which the CPC had imposed upon them, and subject themselves to a rigorous film censorship system. Artistic independence and freedom were subject to the political needs of a one-party state and its ideology. The establishment of a full-fledged and extremely complex institutional censorship system in 1953 resulted in the emergence of two distinct phenomena: self-censorship and social censorship. Both of these made it possible for the CPC to gain full control not only over the film industry, but also, in certain aspects, over the minds of filmmakers as well as the audiences. This article aims at revealing the mechanisms of the Chinese censorship system in the period stretching from 1949 to 1966, and to elucidate the disastrous effects which these exceedingly rigorous control mechanisms brought upon the Chinese film industry in general in this turbulent era
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Panda, Aditya Kumar. "CASE STUDY: FILM CENSORSHIP IN INDIA." Scholedge International Journal of Business Policy & Governance ISSN 2394-3351 4, no. 2 (July 15, 2017): 7. http://dx.doi.org/10.19085/journal.sijbpg040201.
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Censorship is a controlling force of an authority. It is structured and determined by an authority that is governed by socio political and religious forces of a nation. The paper studies the prevailing practices on film censorship in India. It highlights the causes behind the film censorship in India which has been a topic of current affairs in the 21st century.
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Schupak, Esther B. "Redefining Censorship." European Judaism 51, no. 2 (September 1, 2018): 134–42. http://dx.doi.org/10.3167/ej.2018.510219.
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Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.
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Schupak, Esther B. "Redefining Censorship." European Judaism 51, no. 2 (September 1, 2018): 134–42. http://dx.doi.org/10.3167/ej.2017.510219.
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Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.
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Smith, Martin Ian. "Shock Value: Audiences on the Censorship of A Serbian Film." Journal of British Cinema and Television 16, no. 2 (April 2019): 191–212. http://dx.doi.org/10.3366/jbctv.2019.0468.
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This article argues that censorship studies must concern themselves with matters beyond the actions of the censors if they are to understand how an instance of censorship occurs. It is based on a new study of the experiences of English-speaking audiences of A Serbian Film (2010), which was heavily censored by the British Board of Film Classification (BBFC). It employs discourse analysis of responses to a mixed-methods survey to examine how audiences discuss media violence and censorship. This article identifies four key competing discourses used by respondents, all of which have very different implications, along with the relationships between these discourses. It demonstrates the complexity of the reception of A Serbian Film and theorises the workings of the censorship debate more widely. The invocation of ‘public opinion’ by the BBFC to justify censorship decisions necessitates a better understanding of how everyday audiences talk about censorship.
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Janssens, Leon. "Erotische censuur : De seksuele revolutie in gecensureerde pornografische filmposters in België (1971-1980)." Tijdschrift voor geschiedenis 133, no. 2 (August 1, 2020): 347–66. http://dx.doi.org/10.5117/tvgesch2020.2.009.jans.
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Abstract Erotic Censorship: The Second Sexual Revolution in Censorship of Pornographic Movie Posters in Belgium (1970-1980)This article studies the relationship between the second sexual revolution, pornography, and censorship by analyzing censorship of pornographic film posters in Belgium between 1970 and 1980. The prosecution of offences against decency declined in the Belgian courts throughout the seventies, which inspired changes in censorship practices. However, censorship was not only a restrictive power, allowing or prohibiting certain practices, but also led to the production of new content. The creative use of tape in film posters reveals how cinema managers used censorship to create more interest in their movies. Paradoxically, a period of increasing freedom produced a more visible form of censorship. My main conclusion is that censorship played a fundamental role in the eroticization of the public space during the second sexual revolution, thus complicating the apparent contradiction between the second sexual revolution and censorship.
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Smith, Adrian. "The Language of Love: Swedish Sex Education in 1970s London." Film Studies 18, no. 1 (2018): 34–51. http://dx.doi.org/10.7227/fs.18.0003.
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In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.
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Van Deventer, André, and H. J. Breytenbach H J Breytenbach. "Verband tussen etiese orientasie en die beoordeling van wenslikheid van oudio visuele erotiek en sensuur." Communicare: Journal for Communication Studies in Africa 14, no. 2 (November 7, 2022): 37–50. http://dx.doi.org/10.36615/jcsa.v14i2.1928.
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It seems that distinct differences of opinion regarding the desirability of the portrayal of eroticism in films and the application of censorship are evident in the South African society. This empirical study has attempted to identify amongst young adults the role that their ethical orientation plays in evaluating film eroticism and censorship. For this purpose four ethical orientations (the Individualistically, Transcendentalistically, Relativistically and Altruistically orientated groups) were identified. Research was conducted at four universities in which 418 respondents participated. The most important findings were that respondents supporting the Transcendentalistic ethical orienta tion differed significantly from the other in displaying a more negative attitude towards film eroticism and a more positive view of censorship. It was concluded that researchers should thoroughly take cognisance of the role that respondents' ethical red by the Publisher (dated 2010).
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Wittern-Keller, Laura. "Film Censorship: Regulating America's Screen." Journal of American History 106, no. 3 (December 1, 2019): 781. http://dx.doi.org/10.1093/jahist/jaz592.
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서곡숙. "Pre-censorship of Film Censorship and Korean Film Comedy in the late 1960's." Film Studies ll, no. 36 (June 2008): 345–70. http://dx.doi.org/10.17947/kfa..36.200806.012.
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Snelson, Tim, and William R. Macauley. "The Influence of ‘Psychiatrist Friends’ on British Film Censorship in the 1960s." Journal of British Cinema and Television 17, no. 4 (October 2020): 473–500. http://dx.doi.org/10.3366/jbctv.2020.0543.
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This article will demonstrate the significant influence that psychiatric consultants exerted on the policy of the British Board of Film Censors (BBFC) and, as a result, on cinematic representations of mental illness and psychiatric practices during what Arthur Marwick (2005) called the ‘long 1960s’. Drawing upon extensive research at the British Board of Film Classification archives, this article complicates dominant narratives of British censorship in highlighting how John Trevelyan, appointed as Secretary of the BBFC in 1958 and frequently depicted as a liberalising force, deferred to psychiatric expertise outside the BBFC in making decisions about film censorship and certification and, in some instances, scriptwriting and editing. This article will explain how a proliferation of American and, later, British films dealing with mental illness caused BBFC examiners to lose confidence in their ability to make censorship decisions in the mid-1960s. Initially, this loss of confidence prompted consultation with the influential British mental health organisation, the National Association for Mental Health (NAMH) and, subsequently, a small group of trusted medical professionals, referred to as ‘psychiatrist friends’, who decided on cuts and certification of films including The Caretakers (1963), The Collector (1965) and Repulsion (1965). As a result, the BBFC moved from a default position of prohibition to one of enabling ‘serious’ films that promoted mental health awareness and discussion of contemporary mental health issues. This article aims to offer new insights into the policies, processes and practices of the BBFC, to contextualise censorship within historical debates about mental health representation and to highlight the mutually productive interactions that took place between the fields of mental health and cinema.
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Drubek, Natascha. "The Birth of Cinema in the Russian Empire and Film Censorship." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 8–19. http://dx.doi.org/10.17816/vgik1018-19.
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The second part of the article (forbeginning see Issue # 4 (34) 2017) looks intothe spiritual (religious) censorship and its relationshipwith the institute of the householdcensorship regulating the representation of thesacral in the Russian Empire. The author investigatesthe ways of controlling the content ofthe films and their demonstration. An attemptto limit the circulation of the Tzars movingimage, the withdrawal of the Khodynka footage,on the one hand, and on the other hand,the success of the first Lumi.re films includingthe portrayal of the Russian Emperor starting thedomestic production of Tzarist newsreels ledto the emergence of Russain film censorship.
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COUVARES, FRANCIS G. "So This Is Censorship: Race, Sex, and Censorship in Movies of the 1920s and 1930s." Journal of American Studies 45, no. 3 (March 24, 2011): 581–97. http://dx.doi.org/10.1017/s0021875811000041.
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AbstractThe curious case of So This Is Africa (Columbia, 1933) shows that both Hollywood's in-house censors and state and local censors took seriously cinematic violations of racial and sexual norms. This spoof of “jungle” films exploited audience interest in a cycle of fictional and nonfictional depictions of “primitive” life. These films claimed partial exemption from taboos against sexual and racial boundary-crossing, and usually showed unclothed “native” women. But So This Is Africa went further. However farcical, its suggestions of adultery, interracial sex, homosexuality, and even bestiality raised an unusually large storm among the censors. Cut by one-third, the film still outraged many and helped precipitate the industry's creation of the Production Code Administration, designed to police the screen more tightly.
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Mubarak, Makbul. "Censorship and Adult Film Stars in Contemporary Indonesian Horror Cinema." ULTIMART Jurnal Komunikasi Visual 9, no. 1 (March 20, 2018): 38–40. http://dx.doi.org/10.31937/ultimart.v9i1.735.
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There were uproars when film producer Ody Mulya Hidayat initiated to cast adult film stars in his film. It was Sora Aoi, a Japanese porn screen star. These uproars indicated multiple things. Some people are afraid that Aoi will nakedly act in front of Indonesian audiences. However, some others couldn’t wait the release date t0 be announced and buy tickets. All sights are suddenly upon the Indonesian Film Censorship Board, who is responsible to institutionally neutralize all the uproars. The formerly questionable institution is now at a big stake.
Keywords : film, porn star, censorship
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Saltz, Zach. "Julian Petley (2011) Film and Video Censorship in Modern Britain." Film-Philosophy 17, no. 1 (December 2013): 503–8. http://dx.doi.org/10.3366/film.2013.0034.
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Walker, Sonia. "Regulating Film Content in the United States and Australia, 1900–1940." Media International Australia 140, no. 1 (August 2011): 71–79. http://dx.doi.org/10.1177/1329878x1114000110.
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Historically, in both Australia and the United States, the issue of film censorship has been a source of conflict between the film industry, community groups and the government. This article compares the methods used to regulate film content in each jurisdiction between 1900 and 1940. It argues that while the legal structure and community pressure groups had a significant influence on the form of control that was implemented, it was the economic strength and structure of the film industry in each country that played a pivotal role in determining the method of film censorship that was adopted.
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Koppes, Clayton R., Kevin Brownlow, Lea Jacobs, Leonard Leff, and Jerold L. Simmons. "Film Censorship: Beyond the Heroic Interpretation." American Quarterly 44, no. 4 (December 1992): 643. http://dx.doi.org/10.2307/2713218.
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Perlman, Leon. "The Holocaust, politics, censorship and film." Patterns of Prejudice 48, no. 4 (November 27, 2013): 415–19. http://dx.doi.org/10.1080/0031322x.2013.861212.
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Akbari, Taufan Teguh. "The Role of Transformational Leadership and Communication in Building Good Governance in Indonesia Film Censorship Institution." Jurnal Komunikasi Ikatan Sarjana Komunikasi Indonesia 8, no. 1 (June 25, 2023): 141–56. http://dx.doi.org/10.25008/jkiski.v8i1.231.
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The Film Censorship Institute (LSF) is an institution that has the authority to determine which films are allowed. LSF authority is contained in Government Regulation No. 18 of 2014, where they play a role in protecting the public from negative films that can affect the cultural perspective of the community. LSF adapts to the social and cultural norms that apply in society, so if we look at film censorship institutions in other countries, the scope of films allowed is also different. For example, in the United States, films featuring sexual scenes are permitted, while in Malaysia, they are not. Likewise, films with sexual nuances and extreme violence are not allowed in Indonesia. LSF has also banned the screening of several films because they are not under social rules and norms. However, the work carried out by LSF is rarely known by the public, ranging from their working methods and institutional leadership to how they carry out their work programs. With this background, the author wants to know and understand the practice of good governance in Indonesia Censorship Film Institution and how the transformative approach is taken to bring about change in the organization. This study will use a qualitative approach with data collection through the Focus Group Discussion (FGD) method and literature. The study found that transformative leadership accelerates changes in the LSF by creating innovations for better performance and making an inclusive work culture. This transformative leadership also tremendously affects how LSF implements good governance principles, and all indicators have been fulfilled. The relation and effect of transformative leadership and good governance are also discussed.
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Brutāne, Laura, and Ketrisa Petkeviča. "ARTISTIC FREEDOM, CENSORSHIP AND SELF - CENSORSHIP IN THE FILM INDUSTRY OF LATVIA." Culture Crossroads 21 (December 28, 2022): 21–32. http://dx.doi.org/10.55877/cc.vol21.268.
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The concept of censorship associates with authoritarian regime; however, it is not unequivocally, i.e., also in a democratic country there may be obstacles that create barriers for artistic self-expression and limit the artistic process by stimulating the topicality of self-censorship. Also, in Latvia the parliamentary democracy creates legal framework that formally excludes the ideological censorship of creative process and artistic creativity. Simultaneously, the society’s attitude towards artistic expressions, as well as dominant ideologic values among various groups of society and within the country may create critically condemnatory or supportive framework for certain expressions of art. The main aim of this article is to find out how the artists of today comprehend and explain manifestations of artistic freedom, censorship, and self-censorship in Latvia nowadays. Eighteen in-depth interviews involving the Latvian directors of the films were conducted in the framework of FARP “The art of nationalism: Social solidarity and exclusion in contemporary Latvia”. In general, the study (1) reveals multi-shaped manifestations of censorship in the creative activities and dominant conditions in which it forms; (2) allows to follow up the sources of self-censorship for artistic activity, and (3) draws conclusions on the conditions and barriers of creative freedom in Latvian society.
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Sophiaan, Sophan. "Death by a thousand cuts." Index on Censorship 26, no. 2 (March 1997): 73. http://dx.doi.org/10.1177/030642209702600223.
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The star of 50 films and director of 18 more, Sophan Sophiaan knows Indonesia's censorship system from the Inside. Now a member of parliament, he continues to speak out on behalf of what remains of the film industry
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Saporito, Paolo. "Cultural memory against institutionalised amnesia: the Togliatti amnesty and Antonioni’s I vinti." Modern Italy 23, no. 3 (June 11, 2018): 299–313. http://dx.doi.org/10.1017/mit.2018.18.
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This article studies post-war Italy’s forgetful attitude towards its Fascist past by interpreting a political measure, the Togliatti amnesty (1946), and 1950s film censorship as ‘institutionalised forms of (…) amnesia’ (Ricoeur 2004, 452). The amnesty, which erased the Fascists’ legal responsibility for war and political crimes, represented the first act of oblivion of the Republican political establishment, embodying a forgetful mindset that influenced Italian culture through institutional instruments like film censorship. In 1950s Italy, censorship acted as a further form of institutionalised amnesia aimed at erasing from films the traces of the compromising continuity between the Fascist past and the democratic present. The story of the making and unmaking of the Italian episode of I vinti by Michelangelo Antonioni is a meaningful example of this dynamic. Producers and government commissioners censored the plot and changed it from a story about a neo-fascist militant to one about a young bourgeois who smuggles cigarettes. However, Antonioni resisted the institutional imposition to forget by choosing locations where the material dimension of the landscape still embodied the Fascist legacy of the country.
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Thorsen, Isak. "“We had to be careful.” The Self-imposed Regulations, Alterations and Censorship Strategies of Nordisk Films Kompagni 1911-1928." Scandinavian-Canadian Studies 19 (December 1, 2010): 112–26. http://dx.doi.org/10.29173/scancan52.
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ABSTRACT: This article addresses the strategies that the Danish film company Nordisk Films Kompagni adopted from the early 1910s in order to satisfy the censorship demands of different markets, and also the strategies of self-regulation the company practiced in order to reach as large and as culturally-differentiated an audience as possible. Nordisk’s business relied on the international markets; only a small percentage of its production was sold to the domestic market, and in order to maintain the export levels, Nordisk devised very explicit strategies for the kinds of films the company would make. These strategies included among other things the creation of guidelines for scripts accepted by the company, alternative endings made for the same film to please the varying tastes of audiences in different countries, and the circulation of information that derived from the company’s branches and agents about the censorship rules in individual countries to Nordisk’s stock company of writers and directors, to help them in preparing their films for production.
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Nakkab, Renée. "Lights, Camera, Action!" Brandeis University Law Journal 8, no. 1 (May 10, 2021): 8. http://dx.doi.org/10.26812/bulj.v8i1.478.
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This article captures the legal history of censorship in film. In an effort to prevent an American governmental body from regulating the movie industry, Hollywood created their own agencies to police film production companies. While this moral and ethical policing may be considered censorship, this article will explain why the industry’s approach made perfect sense. Although production companies had to abide by a code, it was only for America’s three most modest decades in the 1900s. If the government created legislation about film content requirements, it would be an incredibly difficult process to modernize the requirements with the times. This article will explain how the movie industry’s censorship evolved from the production code to the rating system, ultimately proving that America is better off for Hollywood’s creation of malleable content expectations.
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Thawabteh, Mohammad Ahmad. "Censorship in English-Arabic subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 4 (November 20, 2017): 556–79. http://dx.doi.org/10.1075/babel.63.4.05tha.
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This article draws on three American movies to illustrate censorship in English-Arabic subtitling. The paper argues that in translating languages of little cultural affinity, censorship serves as a remedy that can narrow the potential cultural gap. However, the paper shows that the films have been exposed to excessive censorship in the Arabic subtitles, although not in the original film. Therefore, the subtitles, usually viewed as a verbal-visual channel, work to restrict the flow of communication, depriving the target audience of much information existing in the Source Language (SL) dialogue. The fact that the shots help us understand what is being said is not fully taken into consideration by the satellite channels. The study finally reveals that two major strategies are employed in the translation, namely the omission of obscene utterances in the SL and the rendition of the SL obscenity into a less offensive equivalent in the Target Language (TL).
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Giampieri, Patrizia. "Racial slurs in Italian film dubbing." Translation and Translanguaging in Multilingual Contexts 3, no. 2 (June 18, 2017): 254–69. http://dx.doi.org/10.1075/ttmc.3.2.06gia.
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Abstract This paper explores how racial slurs are dealt with in Anglo-American films and rendered in films dubbed in Italian. It focuses on the racist epithets ‘nigger’, ‘gook’ and ‘zipper head’ with a view to unveiling the linguistic choices made by Italian audiovisual translators. Furthermore, it supports the claim that taboo topics vary from culture to culture and sheds some light on self-censorship, which has allegedly shifted from sexual and religious topics to ethnic slurs (Allan and Burridge 2006; Hughes 2006). In some cases the analysis reveals a wide spectrum of translation choices accompanied by subtle linguistic manipulations. In other cases translation choices tend to be fixed owing to the limited range of corresponding slurs in Italian. Also, the paper discusses self-censorship in contemporary Anglo-American films. In this regard, it is observed that ‘the n-word’ has characterized the majority of Anglo-American films since 2000 and has hallmarked a shift in self-censorship. The final question that this paper addresses is whether Italian culture is ready or not for this change.
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Halperin, Paula. "Between Politics and Desire." Radical History Review 2020, no. 136 (January 1, 2020): 156–67. http://dx.doi.org/10.1215/01636545-7857332.
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Abstract In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Film Festival. Founded in 1973, the festival was not only a platform for art-house films; Gramado had functioned as a space of creative freedom and resistance to censorship during the worst years of Brazil’s military regime (1964–85). Fresa y Chocolate was highly anticipated; it foregrounded a cluster of sensitive issues such as homosexuality, freedom of speech, and censorship, in a Cuba immersed in the so-called Special Period. This article examines the debates provoked by Fresa in Brazil, which had recently emerged from a long authoritarian regime and was confronting the implementation of neoliberal policies. Through Alea’s film, Brazilian critics and journalists discussed the themes advanced by “the Cuban case,” which struck a chord and ignited debate with the local public.
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Maresh, Karin. "Riot and Great Anger: Stage Censorship in Twentieth-Century Ireland." Theatre Survey 47, no. 1 (April 13, 2006): 144–46. http://dx.doi.org/10.1017/s0040557406370093.
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Joan FitzPatrick Dean's Riot and Great Anger: Stage Censorship in Twentieth-Century Ireland is a welcome addition to Irish theatre studies. Although there is a plethora of scholarship available on specific theatrical riots in Ireland, and several studies detail the censorship in Ireland of publications, film, and television, no other single work documents in its totality the tradition of theatrical disorder and stage censorship in twentieth-century Ireland.
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Tassinari, Cosimo. "La censura cinematografica nel cinema documentario. I "mondo movie" e il filone africano, alcuni casi di studio." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 11 (July 22, 2022): 117–33. http://dx.doi.org/10.54103/2532-2486/16338.
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In the present essay, I will investigate the role of censorship in Italian Mondo films made in the 1960s and 1970s, such as Africa addio (1966, Gualtiero Jacopetti, Franco Prosperi), Africa segreta (1969, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio), Africa ama (1971, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio). In particular, I will focus my analysis on the works made by Angelo and Alfredo Castiglioni with Guido Guerrasio. In addition to their relationship with censorship boards, their film – despite some similarities with Mondo genre – demonstrates the attempt to elaborate a different projectin the subgenre dedicated to the African continent.
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Zeng, Li. "So Close to Paradise (1999) and The Missing Gun (2002): Hollywood Models and the Production of Film Noir in Chinese Cinema at the Turn of the Twenty-first Century." Journal of American-East Asian Relations 20, no. 1 (2013): 48–67. http://dx.doi.org/10.1163/18765610-02001007.
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Film noir is new to the cinema of the People’s Republic of China. It was not easy for noir’s dark themes and nihilistic tone to get past the state’s strict censorship; however, at the turn of the twenty-first century, a few noir films were produced. Chinese noir has a strong affinity with American film noir in its representation of social and spatial transformation and exploration of critical issues under strict censorship. This essay presents a close analysis of So Close to Paradise (Wang Xiaoshuai, 1999) and The Missing Gun (Lu Chuan, 2002) and argues that Chinese noir is a creative and localized adaptation of a Hollywood genre. Innovative in their application of noir form and style, these films criticize corruption and class conflict in contemporary China and reflect ordinary people’s feelings of alienation and frustration provoked by the transformation of urban space. This essay also studies the strategies the two films employ, such as ambiguity and genre hybridity, to get past official censors while still maintaining their critical depth and subversive messages.
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Shaw, Gareth, and Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship." China Information 32, no. 2 (October 30, 2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.
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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology and Web 2.0, ranging from digital video formats to Internet-based distribution via social media networks and video-hosting platforms, provide opportunities for Chinese audiences to access films and documentaries dealing with LGBT themes. This empirical study assesses how production, promotion and consumption of queer documentary films are influenced by the development of social media within Chinese cyberspace. Through close readings of microblogs from SinaWeibo, this study combines analysis of contemporary research with digital social rights activism to illustrate contemporary discourse regarding film-based LGBT representation in China. Finally, the study comments on the role that documentary filmmaking plays in China’s gay rights movement, and discusses the rewards (and challenges) associated with increased levels of visibility within society.
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Lesch, Paul. "Film and politics in Luxembourg: censorship and controversy." Film History: An International Journal 16, no. 4 (December 2004): 437–46. http://dx.doi.org/10.2979/fil.2004.16.4.437.
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이봉범. "Culture Policy and Film Censorship in 1950s." Studies in Korean Literature ll, no. 37 (December 2009): 409–67. http://dx.doi.org/10.20881/skl.2009..37.012.
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