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This study of Soviet censorship during its whole existence emphasizes textual changes made in literary works by official censorship and editorial boards. Covering the works of 80 writers, it groups censorial corrections to show the aims of censorship and its evolution in Communist Party policy.
This book demonstrates how people were kept ignorant by censorship and indoctrinated by propaganda. Censorship suppressed all information that criticized the army and government, that might trouble the population or weaken its morale. Propaganda at home emphasized the superiority of the fatherland, explained setbacks by blaming scapegoats, vilified and ridiculed the enemy, warned of the disastrous consequences of defeat and extolled duty and sacrifice. The propaganda message also infiltrated entertainment and the visual arts. Abroad it aimed to demoralize enemy troops and stir up unrest among national minorities and other marginalized groups. The many illustrations and organograms provide a clear visual demonstration of Demm's argument.
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
James D. Startt previously explored Woodrow Wilson’s relationship with the press during his rise to political prominence. Now, Startt returns to continue the story, picking up with the outbreak of World War I in 1914 and tracing history through the Senate’s ultimate rejection in 1920 of the Treaty of Versailles and the League of Nations. Woodrow Wilson, the Great War, and the Fourth Estate delves deeply into the president’s evolving relations with the press and its influence on and importance to the events of the time. Startt navigates the complicated relationship that existed between one of the country’s most controversial leaders and its increasingly ruthless corps of journalists. The portrait of Wilson that emerges here is one of complexity—a skilled politician whose private nature and notorious grit often tarnished his rapport with the press, and an influential leader whose passionate vision just as often inspired journalists to his cause.
As movies took the country by storm in the early twentieth century, Americans argued fiercely about whether municipal or state authorities should step in to control what people could watch when they went to movie theaters, which seemed to be springing up on every corner. Many who opposed the governmental regulation of film conceded that some entity—boards populated by trusted civic leaders, for example—needed to safeguard the public good. The National Board of Review of Motion Pictures (NB), a civic group founded in New York City in 1909, emerged as a national cultural chaperon well suited to protect this emerging form of expression from state incursions. Using the National Board's extensive files, Monitoring the Movies offers the first full-length study of the NB and its campaign against motion-picture censorship. Jennifer Fronc traces the NB's Progressive-era founding in New York; its evolving set of "standards" for directors, producers, municipal officers, and citizens; its "city plan," which called on citizens to report screenings of condemned movies to local officials; and the spread of the NB's influence into the urban South. Ultimately, Monitoring the Movies shows how Americans grappled with the issues that arose alongside the powerful new medium of film: the extent of the right to produce and consume images and the proper scope of government control over what citizens can see and show.
After a series of sex scandals rocked the film industry in 1922, movie moguls hired Will Hays to clear the image of movies. Hays tried a variety of ways to regulate movies before adopting what became known as the production code. Written in 1930 by a St Louis priest, the code stipulated that movies stress proper behaviour, respect for government, and 'Christian values'. The Catholic Church reinforced these efforts by launching its Legion of Decency in 1934. Intended to force Hays and Hollywood to censor films, the Legion of Decency engineered the appointment of Joseph Breen as head of the Production Code Administration. For the next three decades, Breen, Hays, and the Catholic Legion of Decency virtually controlled the content of all Hollywood films.
Investigates how progressivism structured many aspects of understudied era of cinema. Caught between the older model of short film and the emerging classic era, the transitional period of American cinema (1907-1917) has typically posed a problem for studies of early American film. Yet in Cinema and Community: Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917, author Moya Luckett uses the era's dominant political ideology as a lens to better understand its cinematic practice. Luckett argues that movies were a typically Progressive institution, reflecting the period's investment in leisure, its more public lifestyle, and its fascination with celebrity. She uses Chicago, often considered the nation's most Progressive city and home to the nation's largest film audience by 1907, to explore how Progressivism shaped and influenced the address, reception, exhibition, representational strategies, regulation, and cultural status of early cinema. After a survey of Progressivism's general influences on popular culture and the film industry in particular, she examines the era's spectatorship theories in chapter 1 and then the formal characteristics of the early feature film-including the use of prologues, multiple diegesis, and oversight-in chapter 2. In chapter 3, Luckett explores the period's cinema in the light of its celebrity culture, while she examines exhibition in chapter 4. She also looks at the formation of Chicago's censorship board in November 1907 in the context of efforts by city government, social reformers, and the local press to establish community standards for cinema in chapter 5. She completes the volume by exploring race and cinema in chapter 6 and national identity and community, this time in relation to World War I, in chapter 7. As well as offering a history of an underexplored area of film history, Luckett provides a conceptual framework to help navigate some of the period's key issues. Film scholars interested in the early years of American cinema will appreciate this insightful study.
For a revolutionary generation of Irishmen and Irishwomen - including suffragettes, labour activists, and nationalists - imprisonment became a common experience. In the years 1912-1921, thousands were arrested and held in civil prisons or in internment camps in Ireland and Britain. The state's intent was to repress dissent, but instead, the prisons and camps became a focus of radical challenge to the legitimacy and durability of the status quo. Some of these prisons and prisoners are famous: Terence MacSwiney and Thomas Ashe occupy a central position in the prison martyrology of Irish republican culture, and Kilmainham Gaol has become one of the most popular tourist sites in Dublin. In spite of this, a comprehensive history of political imprisonment focused on these years does not exist. In Imprisonment and the Irish, 1912-1921, William Murphy attempts to provide such a history. He seeks to detail what it was like to be a political prisoner; how it smelled, tasted, and felt. More than that, the volume demonstrates that understanding political imprisonment of this period is one of the keys to understanding the Irish revolution. Murphy argues that the politics of imprisonment and the prison conflicts analysed here reflected and affected the rhythms of the revolution, and this volume not only reconstructs and assesses the various experiences and actions of the prisoners, but those of their families, communities, and political movements, as well as the attitudes and reactions of the state and those charged with managing the prisoners.
The Routledge Handbook of Translation and Censorship is the first handbook to provide a comprehensive overview of the topic, offering broad geographic and historical coverage, and extending the political contexts to incorporate colonial and postcolonial viewpoints, as well as pluralistic societies. It examines key cultural texts of all kinds as well as audio-visual translation, comics, drama and videogames. With over 30 chapters, the Handbook highlights commonalities and differences across the various contexts, encouraging comparative approaches to the topic of translation and censorship. Edited and authored by leading figures in the field of Translation Studies, the chapters provide a critical mapping of the current research and suggest future directions. With an introductory chapter by the editors on theorizing censorship, the Handbook is an essential reference and resource for advanced students, scholars and researchers in translation studies, comparative literature and related fields.