Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Movie Censorship in Germany
Seminar paper from the year 2013 in the subject Communications - Movies and Television, grade: 1,7, University of Applied Sciences Köln RFH, language: English, abstract: Although article 5 of the German constitution says that ”There shall be no censorship.“ and ”Art [...] shall be free.“ the reality looks different. Mainly movies and especially the horror genre often have problems with their aimed rating before they are published. In spite of an existing prohibition of censorship movies are cut down to be less harmful to youngsters and children although they are only suitable for adults anyway. But how does this procedure work? Which laws restrict the constitution and when are they applied? After a short definition of the word censorship, an introduction of the most important institutions and a view of the general censorship situation in Germany this term paper shall make clear that: Movie censorship is not necessary (in Germany).
Adult Themes
Between the late 1950s and mid-1970s, British cinema experienced an explosion of X-certificated films. In parallel with an era marked by social, political, and sexual ferment and upheaval, British filmmakers and censors pushed and guarded the permissible limits of violence, horror, revolt, and sexuality on screen. Adult Themes is the first volume entirely devoted to the exploration of British X certificate films across this transformative period, since identified as 'the long 1960s'. How did the British Board of Film Censors, harried on one side by the censorious and moralistic, and beset on the other by demands for greater artistic freedom, oversee and manage this provocative body of films?...
Silencing Cinema
Oppression by censorship affects the film industry far more frequently than any other mass media. Including essays by leading film historians, the book offers groundbreaking historical research on film censorship in major film production countries and explore such innovative themes as film censorship and authorship, religion, and colonialism.
Censored
If one drew up a list of the best films ever made, then it turns out that nearly all of them have been heavily censored or banned. Lang's METROPOLIS, Chaplin's CITY STREETS, Eisenstein's BATTLESHIP POTEMKIN, Brando's THE WILD ONE and Kubrick's THE CLOCKWORK ORANGE, for instance, have all suffered from the effects of censorship. This pioneering book explores the absurdities (and occasional virtues) of censorship over the whole history of film in Britain, and places them in the context of their age. From the banning of anti-Nazi films (that continued up to 1939), to the sexual dilemmas of the 50s and 60s as the censors dealt with homosexuality, nudity, violence, drugs, rape and other subjects that came out of the closet, right up to the ludicrous limits still imposed on film-makers by the BBFC, this book is a brilliantly entertaining - but also hard-hitting - account of a control that is often political in its effect, and always contradictory.
Behind the Scenes at the BBFC
This official history of the British Board of Film Classification (BBFC) draws on unprecedented access to the BBFC's archives to trace 100 years of film classification, with contributions from leading film critics and historians and case studies of controversial films such as Battleship Potemkin and A Clockwork Orange.
Obscenity and Film Censorship
When it first appeared in 1979, the Williams Report on Obscenity and Film Censorship provoked strong reactions. The practical issues and political principles examined are of continuing interest and remain a crucial point of reference for discussions on obscenity and censorship. Presented in a fresh series livery for the twenty-first century, and with a specially commissioned preface written by Onora O'Neill, illuminating its continuing importance and relevance to philosophical enquiry, this abridged edition of Bernard Williams's Report presents all the main findings and arguments of the full report, central to which is the application of Mill's 'harm principle' and the conclusion that restrictions are out of place where no harm can be reasonably thought to be done.
Swedish Cinema and the Sexual Revolution
Swedish cinema became recognized for daring representations of sexuality with such films as One Summer of Happiness (1951), The Silence (1963), I Am Curious (Yellow) (1967) and a wave of sex films in the late 1960s and 1970s. The association between Swedish film and sexuality shows up frequently in popular culture. From Taxi Driver (1976) to Mad Men (2007-2015), dirty Swedish movie references abound. Yet the connection has attracted little critical attention. In this collection of new essays, Swedish and American scholars go beyond popular misconceptions to explore the origins, influences and reception of sexuality in Swedish cinema during the "sexual revolution" on both sides of the Atlantic. A broad range of topics are covered, from analyses of key films, to a behind-the-scenes study of the Swedish Film Institute, which played a significant role in opposing Swedish film censorship.
Movie Wars
Contrary to what a number of disillusioned critics have written and what appears to be the pervading conventional wisdom, Jonathan Rosenbaum believes that cinema is very much alive and well. The problem is, he feels, that all too often we just do not get the opportunity to see the best of it. In Movie Wars, America's leading film critic explores the production, distribution and promotion of mainstream contemporary cinema and how, at every turn, the industry treats the viewer with contempt. Using examples such as Miramax's buying of films solely to keep them out of the hands of competitors with no intention of distributing them, the American Film Institute's narrow championing of Hollywood studio product in their 'Best 100 Films' list, and the mainstream media's unquestioning acceptance of the Hollywood PR machine, Movie Wars is a damning critique of corporate cinematic culture and a no- holds-barred call to arms for those looking for life outside the multiplex.
Censoring Hollywood
Censorship has been an ongoing issue from the early days of filmmaking. One hundred years of film censorship, encompassing the entire 20th century, are chronicled in this work. The freewheeling nature of films in the early decades was profoundly affected by Prohibition, the Depression and the formation of the Legion of Decency--culminating in a new age of restrictiveness in the movies. Such powerful arbiters of public taste as Will H. Hays of the Motion Picture Producers and Distributors of America and Joseph Breen of the Production Code Association fomented an era whereby films with contentious material were severely censored or even condemned. This held sway until rebellious filmmakers like Otto Preminger challenged the system in the 1950s, eventually resulting in the abandonment of the old regime in favor of the contemporary "G" through "NC-17" ratings system.
Die Filmzensur
None
