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Academic literature on the topic 'Motion pictures – censorship – united states'

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Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Motion pictures – censorship – united states"

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Wildman, Steven S. "Selecting advanced television standards for the United States: Implications for trade in programs and motion pictures." Journal of Broadcasting & Electronic Media 35, no. 2 (March 1991): 189–95. http://dx.doi.org/10.1080/08838159109364117.

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Vukoder, Bret. "Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region." Journal of Contemporary Iraq & the Arab World 18, no. 1 (March 1, 2024): 23–45. http://dx.doi.org/10.1386/jciaw_00118_1.

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This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.
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Sloan, Wm David. "Mass Media: A Chronological Encyclopedia of Television, Radio, Motion Pictures, Magazines, Newspapers, and Books in the United States." American Journalism 5, no. 1 (January 1988): 51–53. http://dx.doi.org/10.1080/08821127.1988.10731143.

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Marsden, Michael T., and Craig W. Campbell. "Reel America and World War I: A Comprehensive Filmography and History of Motion Pictures in the United States, 1914-1920." Journal of American History 73, no. 4 (March 1987): 1114. http://dx.doi.org/10.2307/1904194.

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Fine, Zoe D. "Green, David Gordon (Director). (2018). Halloween [Motion picture]. 2018. United States: Miramax, Blumhouse Productions, Trancas International Films, Rough House Pictures." Women's Studies in Communication 43, no. 3 (July 2, 2020): 324–26. http://dx.doi.org/10.1080/07491409.2020.1803655.

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Bakker, Gerben. "Stars and Stories: How Films Became Branded Products." Enterprise & Society 2, no. 3 (September 2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.

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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.
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Khalilov, Vladimir. "Films as pedagogical tools: Cinema and the Teaching of History in the USA." Russia and America in the 21st Century, no. 3 (2023): 0. http://dx.doi.org/10.18254/s207054760026353-5.

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The article explores the historical and educational value of cinematic works drawing on the experience of the United States. The specific abilities of cinema to influence the audience in unique ways, to distribute certain information, and to develop skills of critical and historical thinking have turned it, at least potentially, into a powerful pedagogical tool. However, in the process of practical realization of this potential in educational institutions, many obstacles and challenges arise, depriving films of a significant portion of their pedagogical efficacy. By examining a number of films used in American schools, the author demonstrates how they can serve as effective and authentic pedagogical instruments, while also highlighting the issues that emerge when motion pictures are deployed as tools for learning and education.
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Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.
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Manjila, Sunil, Gagandeep Singh, Ayham M. Alkhachroum, and Ciro Ramos-Estebanez. "Understanding Edward Muybridge: historical review of behavioral alterations after a 19th-century head injury and their multifactorial influence on human life and culture." Neurosurgical Focus 39, no. 1 (July 2015): E4. http://dx.doi.org/10.3171/2015.4.focus15121.

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Edward Muybridge was an Anglo-American photographer, well known for his pioneering contributions in photography and his invention of the “zoopraxiscope,” a forerunner of motion pictures. However, this 19th-century genius, with two original patents in photographic technology, made outstanding contributions in art and neurology alike, the latter being seldom acknowledged. A head injury that he sustained changed his behavior and artistic expression. The shift of his interests from animal motion photography to human locomotion and gait remains a pivotal milestone in our understanding of patterns in biomechanics and clinical neurology, while his own behavioral patterns, owing to an injury to the orbitofrontal cortex, remain a mystery even for cognitive neurologists. The behavioral changes he exhibited and the legal conundrum that followed, including a murder of which he was acquitted, all depict the complexities of his personality and impact of frontal lobe injuries. This article highlights the life journey of Muybridge, drawing parallels with Phineas Gage, whose penetrating head injury has been studied widely. The wide sojourn of Muybridge also illustrates the strong connections that he maintained with Stanford and Pennsylvania universities, which were later considered pinnacles of higher education on the two coasts of the United States.
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Barron, Hal S. "Rural America on the Silent Screen." Agricultural History 80, no. 4 (October 1, 2006): 383–410. http://dx.doi.org/10.1215/00021482-80.4.383.

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Abstract This article analyzes American silent film depictions of rural life in order to understand their role in the creation of new conceptions of the countryside during the first third of the twentieth century. The rise of motion pictures during the 1910s and 1920s was a critical component of an emerging consumer culture in the United States that coincided with its broader transformation from a rural to an urban society. Because of this conjuncture, silent movies depicting agrarian life were instrumental in establishing new understandings of rural society for a modern, urban nation. They resonated with city audiences, particularly those who had been raised on the farm, as well as with rural and small-town moviegoers, and they helped to reconcile both groups to vexing social changes. Besides providing comfort in a time of transition, however, these films also facilitated the new order by subverting traditional understandings of agrarian life and distancing it from its previous position at the core of American culture.
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Dissertations / Theses on the topic "Motion pictures – censorship – united states"

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Cagle, Paul Christopher. "Historical foundations of Hollywood's social problem film, 1945-1967 /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174579.

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Hubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.

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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.
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Yeung, Yuk-ngan, and 楊玉顔. "Gender representation in films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953773.

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Gonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.

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Cavallero, Jonathan J. "Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301350.

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Thesis (Ph.D.)--Indiana University, Depts. of Communication and Culture and American Studies, 2007.
Title from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.
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Banchuen, Woraphat. "A comparative study of product placement in movies in the United States and Thailand." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3265.

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The purpose of this research was to compare the presence of product placement in movies across two different cultures, namely the U.S. and Thailand. In particular, this research examined the frequency of product placement in movies, the position of product placement in movies, and the target audiences in the U.S. and Thailand.
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Budziszewski, Przemyslaw. "Our enemy, ourselves: Political conspiracy in American cinema, 1970-present." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4269/.

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This thesis is an examination of "paranoid conspiracy" films, a film noir subgenre that emerged in mainstream American cinema in the early 1970s and turns on vast, shadowy conspiracies located within U.S. "power structures" (government agencies, the military, the media) and directed against the American public. Specifically, it focuses on the emergence of these films in the 1970s, their almost complete disappearance during the Reagan presidency, and subsequent reemergence in the early 1990s. Placing representative texts in the context of U.S. political and social reality of the last three decades, it analyzes the relationship between the conspiracy theory genre, the "crisis of confidence" in the American society, and the process of formation of American national identity.
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Ford, Conny (Conny M. ). "Differences in Marketing Mainstream and Independent Feature Films in the United States (1990-1995)." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278064/.

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The purpose of this study is (1) to examine mainstream studio films and their marketing (2) to examine independent films and their marketing (3) to explore the marketing challenges of independent films (4) to explore new developments in independent film and the emergence of crossover films (5) to explore the benefits of alliances between the major studios and independent film distributors (6) to examine the diminishing differences between major studio films and independent films.
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Hall, Karen J. "War games and imperial postures: Spectacles of combat in United States popular culture, 1942--2001." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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Jarvinen, Lisa. "Hollywood's shadow the American film industry and its Spanish-speaking markets during the transition to sound, 1929--1936 /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Books on the topic "Motion pictures – censorship – united states"

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Robb, David L. Operación Hollywood: La censura en el Pentágono. Barcelona, España: Océano, 2006.

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Robb, David L. Operation Hollywood: How the Pentagon Shapes and Censors the Movies. Amherst· NY: Prometheus Books·, 2003.

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Jon, Lewis. Hollywood v. hard core: How the struggle over censorship saved the modern film industry. New York: New York University, 2000.

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

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1948-, Couvares Francis G., ed. Movie censorship and American culture. Washington: Smithsonian Institution Press, 1996.

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Vieira, Mark A. Sin in soft focus: Pre-code Hollywood. New York: Harry N. Abrams, 1999.

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Sex and violence: The Hollywood censorship wars. Boulder: Paradigm Publishers, 2009.

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1941-, Simmons Jerold, ed. The dame in the kimono: Hollywood, censorship, and the production code. 2nd ed. Lexington: University Press of Kentucky, 2001.

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1941-, Simmons Jerold, ed. The dame in the kimono: Hollywood, censorship, and the production code from the 1920s to the 1960s. New York: Grove Weidenfeld, 1990.

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1941-, Simmons Jerold, ed. The dame in the kimono: Hollywood, censorship and the production code from the 1920s to the 1960s. London: Weidenfeld and Nicolson, 1990.

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Book chapters on the topic "Motion pictures – censorship – united states"

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Murphy, William T. "The United States Government and the Use of Motion Pictures During World War II." In The Japan/America Film Wars, 59–68. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205289-3.

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Dixon, Shane M., and Tim Gawley. "Screening Workplace Disaster: The Case of Only the Brave (2017)." In Visualising Safety, an Exploration, 101–10. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33786-4_12.

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AbstractMedia influence how we define and engage with our world, shaping our interpretations, attitudes, behaviours. Feature films in which work-related injuries, deaths, and disasters are the storylines can convey occupational safety messages to large, diverse audiences. Films can entertain, act as “powerful” and “poignant” memorials to workers, heighten peoples’ awareness of events, and even deepen their understanding of the causes of workplace disasters. However, it is unclear how films actually represent the complexities of workplace injury and industrial disaster. We examined the film Only the Brave (di Bonaventura, Luckinbill (Producers), Kosinski (Director) in Only the Brave [Motion Picture] (Columbia Pictures, United States, 2017)), which recounts the story of the deaths of 19 wildland firefighters in America. In particular, we examine how the film portrays workplace disaster and the factors which led up to the event. We discuss some strengths and limitations of feature films as a form of visualizing workplace disaster.
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Tsika, Noah. "Veto Power." In Screening the Police, 131–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.003.0004.

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Throughout the first half of the twentieth century, police censorship of motion pictures was a significant and always controversial index of the expansion of law enforcement agencies to include activities that many Americans deemed unbecoming of cops. As such, it offers considerable insight into contemporary debates over the scope of police power in the United States. Today’s arguments have deep roots, including in a practice that was far more prevalent—and far more contentious—than conventional histories allow. When it came to vetting motion pictures, the methods of municipal police departments varied widely. But they often illuminated broader problems: Detroit police officers who voted to ban anti-Nazi films were themselves outspoken white supremacists; Chicago cops who balked at cinema’s suggestions of eroticism were also, outside of departmental screening rooms, aggressively targeting sex workers; and Southern lawmen who sought to eliminate intimations of racial equality were known for their brutal treatment of Black residents. Police censorship of motion pictures took place not in a vacuum but within the ever-widening ambit of law enforcement, and it merits scrutiny as a measure of the authority, influence, and cultural identities of municipal cops.
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Lake, Jessica. "Hollywood Heroes and Shameful Hookers." In The Face That Launched a Thousand Lawsuits. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300214222.003.0007.

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This chapter examines the cases in which individuals used a right to privacy to claim ownership over their life stories, when appropriated by film studios for fiction films. It tracks the move of industrial image making from the East Coast to the West coast of the United States in the 1910s and compares the different contexts of New York’s privacy laws with California’s, informed as they were by a utopian “pursuit of happiness” guaranteed by the Californian Constitution. This chapter also examines the right of privacy in relation to the censorship demands of the Hays Code and considers the onscreen celebration of men’s heroic “public” lives compared to the shaming of women’s “private” lives. It discusses the motion pictures CDQ or Saved by Wireless (1911), The Red Kimono (1925), Yankee Doodle Dandy (1944) and The Sands of Iwo Jima (1949). Whereas female plaintiffs took issue with being condemned or marginalized by films because of their sexuality (their status as hookers or divorcees), men protested the implications of being publicly celebrated for their professional deeds or achievements.
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Lee, Sangjoon. "The Rise and Demise of a Developmental State Studio." In Cinema and the Cultural Cold War, 137–70. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0007.

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This chapter introduces five motion picture studios that stood out in Asia at the beginning of the 1960s, such as Shin Films in South Korea, GMP and CMPC in Taiwan, and Shaw Brothers and MP&GI in Hong Kong and Singapore. It examines how film studios in the region aspired to implement the rationalized and industrialized system of mass-producing motion pictures known as the Hollywood studio system. It also explains that the Hollywood studio system evolved in the United States to handle film production, distribution, and exhibition during the first three decades of the twentieth century. The chapter recounts how the studio system became a highly efficient system that produced feature films, newsreels, animations, and shorts to supply its mass-produced motion pictures to subsidized theaters. It describes Fordism as the famous American system of mass production with particular American circumstances.
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Horne, Jennifer. "Babies and Brochures." In The Oxford Handbook of Silent Cinema, 354–74. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.24.

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Abstract This chapter investigates why the US Children’s Bureau, the first federal agency in the United States to be led by a woman, decided to enter the educational film market. It describes the career trajectory of Julia Lathrop, whose legacy as the Bureau’s initial chief includes her staunch advocacy of motion pictures in public service. The filmmaker Carlyle Ellis was hired to make four non-theatrical films for the agency to loan to health departments. Among the most widely viewed short motion pictures of the day, these films were loose adaptations of the Children’s Bureau’s popular health education pamphlets. An analysis of the use of Bureau brochures in the films suggests that the agency’s female staff understood their viewers’ primary interest to be in the printed materials.
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Graham, Margaret. "The Threshold of the Information Age Radio, Television, and Motion Pictures Mobilize the Nation." In A Nation Transformed by Information, 137–76. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195127010.003.0005.

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Abstract In previous chapters we have seen how the rise of large bureaucratic structures in the early decades of the twentieth century, enabled by a national communications infrastructure and driven by the needs of systematizers, created a voracious appetite for information and information processing technologies. At roughly the same time, in what we will term the Vacuum Tube Era, communications technologies in the United States came to be adapted to broader social purposes, on a national scale. These changes, driven in the first instance by the imperatives of national defense, involved creating a new communications infrastructure based on incorporating vacuum tubes into preexisting technologies. The result of this new combination was not only an enhanced communications infrastructure, but one that was concentrated under the control of a few large enterprises, loosely but effectively aligned with the federal government. From the 1930s through the 1960s, vacuum-tube–based communications in their various forms made the United States into an increasingly mobilized society, that is, a society that could be motivated to achieve broad national purposes. Chief among these purposes were the search for national economic recovery through consumption; a culture unified, or at least socially homogenized, through mass entertainment; and broad public support for war aims. Some semblance of this ‘‘national unity culture’’ endured through World War II and the Korean War, continuing well into the 1960s when both the concentrated control of the infrastructure and the broad cultural consensus disintegrated.
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Reynolds, David. "Whitehall, Washington, and the Promotion of American Studies in Britain, 1941–1943." In From World War to Cold War, 179–98. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780199284115.003.0011.

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Abstract Most of Britain seems to believe that nothing happens in America except ‘gangster shootings, rapes and kidnappings’. That was the complaint of JosephP. Kennedy, the US Ambassador, in a speech in Liverpool in May 1939. Kennedy blamed this perception on the British belief that American ‘home life, history, and even legal practice are typed by motion pictures’. He appealed for better press coverage of the United States and for the study of American history in British schools and universities.1
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Lupack, Barbara Tepa. "Heading West." In Silent Serial Sensations, 238–56. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.003.0016.

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This chapter describes how the once close relationship between the Wharton brothers irreparably broke. In late spring of 1919, after he and Ted parted ways, Leo Wharton left New York and headed west—not to Los Angeles but to Texas, which he hoped would become part of a film community that might rival Hollywood. At San Antonio Motion Pictures, he believed that he would have the opportunity to produce the kinds of feature films that he had long wanted to make. The demise of San Antonio Motion Pictures, however, effectively marked the end of Leo's film career. Ted Wharton, who left Ithaca less than a year after his brother Leo did, also traveled west. But whereas Leo had sought fame and success in Texas, Ted moved to Hollywood, which was rapidly evolving into the film capital of the United States. Almost immediately, Universal—by then well known for its popular westerns—hired him to work on the production of The Moon Riders (1920). Sadly, little more is known about the Whartons' final years. Nevertheless, a close examination of their careers restores Ted and Leo Wharton to the classical narrative of early filmmaking and reveals their profound impact on the early serial picture and their influence on later popular genres.
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Yogerst, Chris. "Champ Clark Doubles Down." In Hollywood Hates Hitler!, 66–76. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829757.003.0006.

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Champ Clark and Nye called Hollywood one of “the most deadly and insidious of all propaganda agencies.” Champ Clark provided his vision of what free speech meant in the United States. This right should not be granted to any group who holds a monopoly on a means of communication such as motion pictures. Free speech, Champ Clark contended, only applied to someone speaking to their neighbor, publishing an article, or standing on a soap box in a field. This definition clearly does not include any form of mass communication except the newspaper, which the Committee made sure not to single out. Senator Champ Clark complained that Hollywood films do not deserve the reach they get. It was clear that Champ Clark was jealous that more people followed movies than Washington politicians. Complaints followed that there were not enough politicians featured in films and newsreels. The senator also made a case that Hollywood was a monopoly, diverting from the true goal of the investigation into motion picture propaganda.
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