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Censorship profoundly affected early modern writing. Censorship and Conflict in Seventeenth-Century England offers a detailed picture of early modern censorship and investigates the pressures that censorship exerted on seventeenth-century authors, printers, and publishers. In the 1600s, Britain witnessed a civil war, the judicial execution of a king, the restoration of his son, and an unremitting struggle among crown, parliament, and people for sovereignty and the right to define “liberty and property.” This battle, sometimes subtle, sometimes bloody, entailed a struggle for the control of language and representation. Robertson offers a richly detailed study of this “censorship contest” and of the craft that writers employed to outflank the licensers. He argues that for most parties, victory, not diplomacy or consensus, was the ultimate goal. This book differs from most recent works in analyzing both the mechanics of early modern censorship and the poetics that the licensing system produced—the forms and pressures of self-censorship. Among the issues that Robertson addresses in this book are the workings of the licensing machinery, the designs of art and obliquity under a regime of censorship, and the involutions of authorship attendant on anonymity.
Winner of the Society for Theatre Research Book Prize - 2016 This is the final volume in a new paperback edition of Steve Nicholson's definitive four-volume survey of British theatre censorship from 1900-1968, based on previously undocumented material, covering the period 1960-1968. This brings to its conclusion the first comprehensive research on the Lord Chamberlain's Correspondence Archives for the 20th century. The 1960s was a significant decade in social and political spheres in Britain, especially in the theatre. As certainties shifted and social divisions widened, a new generation of theatre makers arrived, ready to sweep away yesterday's conventions and challenge the establishment. Analysis exposes the political and cultural implications of a powerful elite exerting pressure in an attempt to preserve the veneer of a polite, unquestioning society. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/TGOJ9339
As Dracula (1931) and Frankenstein (1931) ushered in the golden age of horror films in the United States, studios and distributors were faced with a major problem in their number one overseas market: the British Board of Film Censors (BBFC) were demanding extensive cuts, enforcing age restrictions, and banning outright many of Hollywood's horror movies. The issue most often used to limit the showing of horror films was their "unsuitability" to children. With that in mind, the BBFC developed specific film codes--the "A" (for adults) and the "H" (for horrific), both of which restricted viewing to those 16 or older--and then applied them liberally. This work examines how and why horror films were censored or banned in the United Kingdom, and the part these actions played in ending Hollywood's golden age of horror.
The secrecy in which the British Board of Film Censors enveloped itself until 1948 resulted in a glaring vacuum in British cinematic history. Originally published in 1985, this book filled this important gap, drawing on the detailed registers of films passed, cut and banned since 1913. The book opens by tracing the events which led up to the creation of the BBFC and goes on to cover the Board s theoretical censorship principles concerning such matters as crime, religion and sex and to discuss how these principles were applied in practice to silent films. The advent of the talkies in the late 1920s caused a minor revolution in the Board s work during the 1930s and 1940s, when the cinema rose to the peak of its popularity. This era of the Board s history is examined in detail, with extensive use of the Board s surviving records and a whole chapter devoted to the special circumstances of the Second World War. The final chapter delves into the Board s work up to 1950, and investigates the connection between film censorship in Britain and the USA. Also discussing the political and social background, this is an essential history of film censorship in Britain in general and the BBFC in particular."
How does film and video censorship operate in Britain? Why does it exist? And is it too strict? Starting in 1979, the birth of the domestic video industry - and the first year of the Thatcher government - this critical study explains how the censorship of films both in cinemas and on video and DVD has developed in Britain. As well as presenting a detailed analysis of the workings of the British Board of Film Classification, Petley casts his gaze well beyond the BBFC to analyse the forces which the Board has to take into account when classifying and censoring. These range from laws such as the Video Recordings Act and Obscene Publications Act, and how these are enforced by the police and Crown Prosecution Service and interpreted by the courts, to government policy on matters such as pornography. In discussing a climate heavily coloured by 30 years of lurid 'video nasty' stories propagated by a press which is at once censorious and sensationalist and which has played a key role in bringing about and legitimating one of the strictest systems of film and video/DVD censorship in Europe, this book is notable for the breadth of its contextual analysis, its critical stance and its suggestions for reform of the present system.
How does film censorship work in Britain? Robertson examines the history of the British Board of Film Censors and shows that censorship has had a greater influence on film history than is often assumed.
This exploration of the wide variety of censorship that has shaped theatrical performance in twentieth and twenty-first century Britain examines the unpredictable outcomes of censorship, deep-seated anxieties about the performative influence of the stage, and the complex questions raised by acts of theatrical censorship.