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Banned Plays
An alphabetical listing of plays that have been banned throughout history with a short synopsis and reason for banning as well as profiles of the playwrights and other resource material.
Marie Stopes
'Lesley Hall is excellently qualified to edit and introduce this important collection of my mother's work. Her selection is well balanced. In particular I am glad that she has included A Journal from Japan, which introduces something of my mother's personality.' - Harry Stopes-Roe Marie Stopes (1880-1958) is primarily remembered as a pioneering propagandist for birth control, but her concern for contraception was deeply rooted in her conceptions of ideal motherhood and marriage. A concern with the issues with which she was identified in the 1920s can be seen in early works such as The Race, while Marriage in My Time indicates her involvement with a range of feminist campaigns aimed at amelio...
Look Back in Gender (Routledge Revivals)
In this challenging book, first published in 1987, Michelene Wandor looks at the best-known plays in the thirty years prior to publication, from Look Back in Anger onwards. Wandor investigates the representation of the family and different forms of sexuality in these plays and re-reviews them from a perspective that throws into sharp relief the function of gender as an important determinant of plot, setting and the portrayal of character. Juxtaposing the period before 1968, when statutory censorship was still in force, with the years following its abolition, Wandor scrutinises the key plays of, among others, Osborne, Pinter, Wesker, Arden, and Delaney. Each one is analysed in terms of its so...
Banned in Berlin
Imperial Germany's governing elite frequently sought to censor literature that threatened established political, social, religious, and moral norms in the name of public peace, order, and security. It claimed and exercised a prerogative to intervene in literary life that was broader than that of its Western neighbors, but still not broad enough to prevent the literary community from challenging and subverting many of the social norms the state was most determined to defend. This study is the first systematic analysis in any language of state censorship of literature and theater in imperial Germany (1871-1918). To assess the role that formal state controls played in German literary and political life during this period, it examines the intent, function, contested legal basis, institutions, and everyday operations of literary censorship as well as its effectiveness and its impact on authors, publishers, and theater directors.
Better Left Unsaid
Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife—the Victorian novel and classical Hollywood film—this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity—thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.
British Film Catalogue
First published in 2001.The standard work on its subject, this resource includes every traceable British entertainment film from the inception of the "silent cinema" to the present day. Now, this new edition includes a wholly original second volume devoted to non-fiction and documentary film--an area in which the British film industry has particularly excelled. All entries throughout this third edition have been revised, and coverage has been extended through 1994.Together, these two volumes provide a unique, authoritative source of information for historians, archivists, librarians, and film scholars.
