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Boxing, porn, and the beginnings of movie censorship -- The rise of salacious cinema -- State regulations emerge -- Mutual and the capacity for evil -- War, nudity, and birth control -- Self-regulation reemerges -- Midnight movies and sanctioned cinema -- Sound enters the debate -- Tension increases between free speech and state censorship -- Threats from abroad and domestic disturbances -- Outlaws and miracles -- State censorship statutes on the defense -- Devil in the details : film and the Fourth and Fifth Amendments -- Dirty words : profanity and the patently offensive -- Filthy pictures : obscenity from nudie cuties to fetish films -- The porno chic : from Danish loops to Deep throat -- Just not here : content regulation through zoning -- Is censorship necessary? -- The politics of profanity
In 1968, at age twenty-one, I was sure I had all the answers I needed to know about teaching five classes a day in a real high school I had no idea how nave I was! Every teachers career is a journey of discovery that begins with rookie insecurities and moves toward self-confidence and understanding. When Susan Van Kirk drove into little Monmouth, Illinois, in 1968straight out of college, with her teaching degree in handshe thought she was ready to teach English and speech to high school students. She didnt realize that, for the rest of her career, she would both teach and be taught by a town, a school, and the students who entered her life. A veteran of thirty-four years in public high school teaching, Van Kirk will take you on a passionate and unforgettable journey through one teaching life. Meet her students and experience the events that molded a rookie teacher into a veteran. This montage of stories covers the years 1968 to 2008; they describe her early fears about classroom discipline, plots to overthrow the rookie, handing drug overdoses, the devastating first student death, and a challenge to a major Kurt Vonnegut book in her classroom.
Silent Film and the Formations of U.S. Literary Culture: Literature in Motion argues that the emergence of motion pictures constituted a defining moment in U.S. literary history. Author Sarah Gleeson-White discovers what happened to literary culture-both popular and higher-brow—when inserted into the spectacular world of motion pictures during the early decades of the twentieth century. How did literary culture respond to, and how was it altered by, the development of motion pictures, literature's exemplar and rival in narrative realism and enthrallment? Gleeson-White draws on extensive archival film and literary materials, and unearths a range of collaborative, cross-media expressive and industrial practices to reveal the manifold ways in which early-twentieth-century literary culture sought both to harness and temper the reach of motion pictures.
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.
Since the first films played in nickelodeons, controversial movies have been cut or banned across the United States. Far from Hollywood, regional productions such as Oscar Micheaux's provocative race films and Nell Shipman's wildlife adventures were censored by men like Major M.L.C. Funkhouser, the terror of Chicago's cinemas, and Myrtelle Snell, the Alabama administrator who made the slogan "Banned in Birmingham" famous. Censorship continues today, with Utah's case against Deadpool (2016) pending in federal court and Robert Rodriguez's Machete Kills (2013) versus the Texas Film Commission. This authoritative state-by-state account covers the history of film censorship and the battle for free speech in America.
For most Americans today, Roe v. Wade concerns just one thing: the right to choose abortion. But the Supreme Court’s decision once meant much more. The justices ruled that the right to privacy encompassed the abortion decision. Grassroots activists and politicians used Roe—and popular interpretations of it—as raw material in answering much larger questions: Is there a right to privacy? For whom, and what is protected? As Mary Ziegler demonstrates, Roe’s privacy rationale attracted a wide range of citizens demanding social changes unrelated to abortion. Movements questioning hierarchies based on sexual orientation, profession, class, gender, race, and disability drew on Roe to argue for an autonomy that would give a voice to the vulnerable. So did advocates seeking expanded patient rights and liberalized euthanasia laws. Right-leaning groups also invoked Roe’s right to choose, but with a different agenda: to attack government involvement in consumer protection, social welfare, racial justice, and other aspects of American life. In the 1980s, seeking to unify a fragile coalition, the Republican Party popularized the idea that Roe was a symbol of judicial tyranny, discouraging anyone from relying on the decision to frame their demands. But Beyond Abortion illuminates the untapped potential of arguments that still resonate today. By recovering the diversity of responses to Roe, and the legal and cultural battles it energized, Ziegler challenges readers to come to terms with the uncomfortable fact that privacy belongs to no party or cause.
Published to accompany the exhibition held at Serpentine Gallery, London, 6 June - 1 September 2002.
This pioneering book makes the case that iconic cartoon characters, such as Mickey Mouse, are legitimate cinematic stars, just as popular human actors are. Mickey Mouse, Betty Boop, Donald Duck, Bugs Bunny, Felix the Cat, and other beloved cartoon characters have entertained media audiences for almost a century, outliving the human stars who were once their contemporaries in studio-era Hollywood. In Animated Personalities, David McGowan asserts that iconic American theatrical short cartoon characters should be legitimately regarded as stars, equal to their live-action counterparts, not only because they have enjoyed long careers, but also because their star personas have been created and marketed in ways also used for cinematic celebrities. Drawing on detailed archival research, McGowan analyzes how Hollywood studios constructed and manipulated the star personas of the animated characters they owned. He shows how cartoon actors frequently kept pace with their human counterparts, granting “interviews,” allowing “candid” photographs, endorsing products, and generally behaving as actual actors did—for example, Donald Duck served his country during World War II, and Mickey Mouse was even embroiled in scandal. Challenging the notion that studios needed actors with physical bodies and real off-screen lives to create stars, McGowan demonstrates that media texts have successfully articulated an off-screen existence for animated characters. Following cartoon stars from silent movies to contemporary film and television, this groundbreaking book broadens the scope of star studies to include animation, concluding with provocative questions about the nature of stardom in an age of digitally enhanced filmmaking technologies. “[Animated Personalities] is impressive for its lucid historical structure and exceptionally enjoyable content . . . McGowan breathes life into celluloid figures, giving readers a backstory for some of the most enduring iconic characters of screen history. This is a truly gratifying book.” —Choice “Combining historical, formal, and theoretical modes of analysis, Animated Personalities represents a vital contribution to both star studies and the study of animation in classical Hollywood and beyond. By embracing a key problematic of the study of stardom―the inability to take any element of its construction as authentic―McGowan does not undermine the validity of this approach so much as craft a more honest and complete understanding of it.” —Synoptique
For many, the Beatles offered a delightful alternative to the dull and the staid, while for others, the mop-top haircuts, the unsettling music, and the hysterical girls that greeted the British imports wherever they went were a symbol of unwelcome social and cultural change. This opposition to the group—more widespread and deeper rooted in Chicago than in any other major American city—increased as the decade wore on, especially when the Beatles adopted more extreme countercultural values. At the center of this book is a cast of characters engulfed by the whirlwind of Beatlemania, including the unyielding figure of Mayor Richard J. Daley who deemed the Beatles a threat to the well-being of his city; the Chicago Tribune editor who first warned the nation about the Beatle menace; George Harrison’s sister, Louise, who became a regular presence on Chicago radio; the socialist revolutionary who staged all of the Beatles’ concerts in the city and used much of the profits from the shows to fund left-wing causes; the African-American girl who braved an intimidating environment to see the Beatles in concert; a fan club founder who disbelievingly found herself occupying a room opposite her heroes when they stayed at her father’s hotel; the University of Chicago medical student who spent his summer vacation playing in a group that opened for the Beatles’ on their last tour; and the suburban record store owner who opened a teen club modeled on the Cavern in Liverpool that hosted some of the biggest bands in the world. Drawing on historical and contemporary accounts, Joy and Fear brings to life the frenzied excitement of Beatlemania in 1960s Chicago, while also illustrating the deep-seated hostility from the establishment toward the Beatles.
In America we like to think we live in a land of liberty, where everyone can say whatever they want. Throughout our history, however, we have also been quick to censor people who offend or frighten us. We talk a good game about freedom of speech, then we turn around and deny it to others. In this brief but bracing book, historian Jonathan Zimmerman and Pulitzer Prize-winning cartoonist Signe Wilkinson tell the story of free speech in America: who established it, who has denounced it, and who has risen to its defense. They also make the case for why we should care about it today, when free speech is once again under attack.Across the political spectrum, Americans have demanded the suppression of ideas and images that allegedly threaten our nation. But the biggest danger to America comes not from speech but from censorship, which prevents us fromfreely governing ourselves. Free speech allows us to criticize our leaders. It lets us consume the art, film, and literature we prefer. And, perhaps most importantly, it allows minorities to challenge the oppression they suffer. While any of us are censored, none of us are free.