Search

Technology changes the look of the film industry, particularly regarding marketability through online streaming platforms. Online streaming provides a second option for viewers, which has altered Malaysia's film-viewing culture. This difference is significant between watching movies on TV screens and in cinemas, regulated and filtered by the Film Censorship Board (Lembaga Penapisan Filem, LPF), compared to streaming online via platforms not bound by LPF regulations. Through qualitative and library research methods, this study examined the development and changes in film-viewing culture in Malaysia and the relevant acts. The Culture of the Streaming Model was used as a guide to explore the development and changes in film-viewing culture in the Malaysian film industry. In conclusion, the changes brought about by the advances in technology have significant implications for the film industry, particularly ensuring that inappropriate content does not reach young people. [ABSTRACT FROM AUTHOR]

This article provides an overview of the development of New Pakistani Cinema, which has been influenced by technological advancements and global industry changes. It examines the impact of political and social factors, including religion, on the evolution of Pakistani cinema. The article discusses the challenges faced by the industry, such as censorship and the closure of cinemas during the pandemic. It also explores the historical context of cinema in Pakistan, including the influence of political events and the dominance of regional languages. The article highlights the class segregation in cinema attendance, the emergence of Pakistani films addressing social and political issues, and the influence of Bollywood and Hollywood on Pakistani cinema. It addresses the impact of political tensions between India and Pakistan on the film industry, including bans on Pakistani artists in India and restrictions on Indian content in Pakistan. The article also discusses censorship issues faced by Pakistani filmmakers and the role of streaming platforms in providing alternative distribution channels. It examines the challenges and restrictions faced by filmmakers in Pakistan, highlighting the contrasting responses to different films, such as the government support for the popular drama Ertuğrul and the banning of the film Joyland, which explores transgender issues. The article compares the proactive and reactive measures of censorship in Pakistan and Iran and their impact on filmmakers. It concludes by discussing the uncertain future of Pakistani cinema and the potential role of platforms like YouTube in reaching audiences. [Extracted from the article]

The concept of censorship associates with authoritarian regime; however, it is not unequivocally, i. e., also in a democratic country there may be obstacles that create barriers for artistic self-expression and limit the artistic process by stimulating the topicality of self-censorship. Also, in Latvia the parliamentary democracy creates legal framework that formally excludes the ideological censorship of creative process and artistic creativity. Simultaneously, the society's attitude towards artistic expressions, as well as dominant ideologic values among various groups of society and within the country may create critically condemnatory or supportive framework for certain expressions of art. The main aim of this article is to find out how the artists of today comprehend and explain manifestations of artistic freedom, censorship, and self-censorship in Latvia nowadays. Eighteen in-depth interviews involving the Latvian directors of the films were conducted in the framework of FARP "The art of nationalism: Social solidarity and exclusion in contemporary Latvia". In general, the study (1) reveals multi-shaped manifestations of censorship in the creative activities and dominant conditions in which it forms, (2) allows to follow up the sources of self-censorship for artistic activity, and (3) draws conclusions on the conditions and barriers of creative freedom in Latvian society. [ABSTRACT FROM AUTHOR]

This essay is driven by the question of how Candra, the writer and director of Dewi pulang (2017), is able to sustain his cinematic practice, despite the controversial nature of his films. Considering the notion of landscape of possibility , this essay traces processes that precede and go beyond the production of a particular film, but which are nevertheless constitutive of its becoming. These entanglements are explored through concrete stories in dialogical engagement with film practitioners in Indonesia. Adding these to the conversation of what constitutes a film conceptually and analytically, the desired gesture of this essay is less a representation or documentation of Candra's practice or Indonesian film communities but rather a provocation to approaches in film studies that operate on binary assumptions of landscape as an external backdrop (of text and context, film and maker, state and film production). I will argue that the evolution of film communities in Indonesia challenges commonly held assumptions about the role of the state in 'independent' film, and the linear 'assembling logic' from 'grassroots' to 'mainstream'. [ABSTRACT FROM AUTHOR]

This article traces the introduction of cinema to the Gulf through the archives of the India Office Records (IOR). The records of the political agent in Bahrain illustrate clearly the extent to which cinema was closely monitored and regulated by the British colonial network of administrative functions in the Persian Gulf, India, and England. Following the discovery of oil in 1932, hydrocarbon modernity gave rise to new spaces of urban culture, most prominently cinema. But in the oil cities of the Gulf, film spectatorship in its early years was refracted through three spheres of moving-image culture: private, corporate-sponsored, and commercial public cinemas. What was common to these three spheres was a certain logic of exclusion and restricted access norms. Administrators in the Gulf looked to how cinema was handled in India for models and ideas to create actual policies on the ground. The bureaucratic traffic over the case of early public cinema petitions in Bahrain shows how regulatory practices and norms of governance over cinematic spheres circulated from one colonial context (South Asia) to another (the Gulf). The core political issue of the emergence of a cinema culture in the Gulf was the restriction of cinematic medium and space to certain populations. As such, regulating cinema was linked to the question of managing the social forces of hydrocarbon modernity that the discovery of oil unleashed. The arrival of cinema in the Gulf took place in an exclusionary and uneven world, entangled with circulations of colonial practices, regimes of segregation, expansionist oil capital, international labor, and film cans. [ABSTRACT FROM AUTHOR]

After the proclamation of the People’s Republic of China in 1949, and the subsequent nationalization of the domestic film industry three years later, the Chinese Communist Party gained unlimited control over the entire Chinese film world, while film itself became an instrument of state propaganda. In order to fulfill their role ‘in the service of workers, peasants, and soldiers’, filmmakers had to abide strictly by the requirements which the CPC had imposed upon them, and subject themselves to a rigorous film censorship system. Artistic independence and freedom were subject to the political needs of a one-party state and its ideology. The establishment of a full-fledged and extremely complex institutional censorship system in 1953 resulted in the emergence of two distinct phenomena: self-censorship and social censorship. Both of these made it possible for the CPC to gain full control not only over the film industry, but also, in certain aspects, over the minds of filmmakers as well as the audiences. This article aims at revealing the mechanisms of the Chinese censorship system in the period stretching from 1949 to 1966, and to elucidate the disastrous effects which these exceedingly rigorous control mechanisms brought upon the Chinese film industry in general in this turbulent era. [ABSTRACT FROM AUTHOR]

The article discusses the changes in the Chinese independent film festival scene and reviews the challenges faced by the Beijing International Film Festival. The author offers an “update from the ruins,” as government censorship, an absence of institutional support, and finds hope for the future at the Shanghai International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival, and the West Lake International Documentary Film Festival.

In 2009-10, I have decided to do the doctorate in the art of filmmaking. Those were the years of extreme decline for Pakistan's film industry. Pakistani film was almost over and there was no evidence of the resurrection of this destroyed industry. Indeed, the future of film industry was doubtful, and the same could be the case for a film researcher. Most of the friends, after knowing my field of research, often asked me that why would I chose to do PhD in the subject of film. As, according to them, this is one of the obnoxious and intolerable field, as it is ruining the society by offering and promoting sinful and immoral acts. So a PhD in such a field might not be fruitful in this world, as well as hereafter. I started thinking about one of the very basic questions that how this perception about the art of making film was built. The study of traditional Pakistani cinema, 'established cinema', has disclosed that the medium of film was facing a control from the very beginning. Indeed, the policy of censorship was rooted in the times of imperialism. The censorship policy of the British rule was executed only to restrain socialist political ideology and nationalistic themes (Pendakur 1996; Shoesmith 2009). The main emphasis of the policy focus of mass media systems during colonial regimes was on furthering administrative efficiency" (McMillin 71). The government of Pakistan had inherited the policies of their colonial masters; hence, they executed similar censorship policies even after Independence. Indeed, 1947 onwards, a control has always been exercised on the cinema of Pakistan through strong censorship policies (Bilal 2015). [ABSTRACT FROM AUTHOR]

The article examines the politics of performance in cinematic projects by contemporary queer filmmakers in Bangkok, Thailand that interrogate Thai cultural nationalism. The use of wer aesthetics to assess how same-sex eroticisms get localized in Thailand is discussed. Author Arnika Fuhrmann identified a consolidation of Thai nationalism after the 1997 Asian financial crisis. A change of censorship policies occurred in 2009 when a new film-ratings system replaced the Film Act of 1930.

The article offers information on the short-lived AA certificate launched by the British Board of Film Censors (BBFC) in 1970 which aims to acknowledge liberalisation of attitudes for teenage audiences in the classification of material and reduce the ubiquity of X-certificated films. It mentions that the certificate shows a degree of censorial relaxation despite a number of failure and help British film classification.

Contrary to conventional wisdom, the Production Code was not an imposition of the Catholic Church. The forces that implanted the code were more numerous and powerful, and its main objective was to maintain its hegemony over society at a time when it was weakening. One of the main keys to the defense of economic and ideological status quo was the creation of primary frameworks that would serve to interpret social problems in a univocal way. In this paper I treat the establishment of the code from the perspective of the analysis of these frames. [ABSTRACT FROM AUTHOR]

This article examines how the Chinese ruling party understands the role of film and how film policy has been used to promote China's soft power. It first explores shifts in policy over a period of 60 years in order to identify the government's overall approach to the film industry. Then it investigates 'Zou Chu Qu', the so-called 'Going-Out Policy', specifically aimed at promoting soft power. This article argues that, although the role of the film industry has been adjusted in response to developments in Chinese society, the principal function of film as a tool of propaganda, along with the broader censorship system, has not fundamentally changed. Such policy arrangements have resulted in a tension between the 'attraction' of soft power and the state's attraction to censorship. Consequently, there currently seems little room for Chinese films to contribute to China's soft power in any meaningful way. [ABSTRACT FROM AUTHOR]

This article estimates the impact of Taiwan's Entry into the WTO on the movie box office. A sample of 2392 box office movies for the period 2002-2010 was examined by using difference-in-differences (DiD) models. The impact of Taiwan's entry into the WTO on the movie box office was found to be negative by at least 1.83 million USD per year. Contrary to the normal perception of a preference for foreign (Hollywood) movies, the evidence based on a short-run analysis shows that Taiwanese preferred local movies. Compared to foreign movies, a local movie's box office receipts were on average 2.03-2.41 % higher, ceteris paribus. The evidence corresponds to the discussion of the cultural premium. [ABSTRACT FROM AUTHOR]

Contrary to conventional wisdom, the Production Code was not an imposition of the Catholic Church. The forces that implanted the code were more numerous and powerful, and its main objective was to maintain its hegemony over society at a time when it was weakening. One of the main keys to the defense of economic and ideological status quo was the creation of primary frameworks that would serve to interpret social problems in a univocal way. In this paper I treat the establishment of the code from the perspective of the analysis of these frames. [ABSTRACT FROM AUTHOR]

This article explores the mutually beneficial relationship between the American swimsuit and film industries during the first three decades of the twentieth century. Three examples will be used: Fatty and the Bathing Beauties from 1913 (prior to regulated film content), Footlight Parade from 1933 (when limited self-regulation had been put in place, but was not yet rigorously enforced) and the Tarzan film franchise (which spans both the second period and a later, third period of actual implementation and subsequent negotiation). Using these examples, the paper will consider several of the popular associations attached to the swimmer and the swimsuit. It will discuss the ways in which Hollywood utilised the swimsuit, the swimmer and swimming in both its films and its promotional materials and will demonstrate how through the sporting associations of both the garment and sports stars, film producers negotiated the processes of censorship and self-regulation while allowing the continued use of semi-naked and eroticised bodies, to their own profit and to that of the increasingly fashionable swimwear industry. [ABSTRACT FROM AUTHOR]

Indian Film Festivals, being a third world film event, often has the unique highlights of people participations, ‘open forum’, film market, screening for prisoners and script marketing workshops. However, on the other side, the same festivals having more than half a century of history are often the locus point of controversies and hegemony. As a resistance to the highly commercialized Film Festivals, the concept of an alternative film festival emerged named, Vikalp: Films For Freedom, which was a six-day long festival of documentary films were organized parallel Mumbai International Film Festival. In 2012, in the International Film Festival of Kerala (IFFK), film Papilio Buddha was taken out from the screening due to its alleged negative remarks on Mahatma Gandhi and overall Dalit sympathy it followed. Taking Vikalp and the expulsion of Papilo Buddha from IFFK as case studies, this chapter analyses the ideological hegemony, political intolerance and the class politics in the whole Indian Film Festivals. [ABSTRACT FROM AUTHOR]

What are the reasons behind the ban of a film in India? What qualifies as conflictual thematically? Is there an apprehension of an alternative discourse? These are some of the key questions that this research paper attempts to answer. The authors of this research paper studied the narratives of 11 films that faced some kind of censorship. The paper uses the narrative analysis technique to demonstrate that the aim of censorship in most of the cases was either the suppressing the alternative ideological discourse or re-appropriating it. This research paper aims to analyze 11 films between 1970 and 2014 which faced censorship and were even banned. In addition to this, expert interviews have been conducted to understand the subject of suppression of alternative discourse through censorship of films. [ABSTRACT FROM AUTHOR]

Following a century of legislation about film and the film industry in the UK, and the latest in a series of reports on 'film policy', this paper investigates the relationship between law, policy and film. Case studies on the definition of 'film' in a time of technological and cultural change consider the privileged position of the cinema in terms of censorship and tax, including the new phenomenon of 'alternative content'; that is, live relays of theatrical performances. Institutional change is assessed and criticised, particularly the abolition of the UK Film Council and the steady move from statute to executive action. The paper sets out a case for the role of the state to be set out in legislation and the cultural consequences of legal definitions to be taken more seriously. [ABSTRACT FROM AUTHOR]

This article revisits the key 1915 Mutual v. Ohio legal decision, which endorsed censorship of film in the United States. Placing the decision in the context of two other related decisions (Kalem Co. v. Harper Bros. [1911] and Pathé Exchange v. Cob [1922]) highlights the importance of the Supreme Court justices' conception of the nature of film as more akin to physical action than to opinion and expression. The article locates this conception in contemporaneous popular discourse on technology and the social scientific discourse on influence. [ABSTRACT FROM AUTHOR]

This paper is an attempt to explore the role of the State in defining the prevailing position of film workers in the Indian film industry. The century-old Indian film industry remains unorganised, due to the decentralised production process. A series of committees have been constituted by the Government since the beginning to address the issues concerning the film industry, but the sole objective of these interventions has been to reinforce capitalist relations. While the State has been intervening in the functioning of the film industry on several fronts--content, censorship, licensing, and taxation, among other things, there is almost a vacuum in the literature, when it comes to the foot workers of the film industry, who are even today among the most deprived unorganised workers of an ever-burgeoning film industry. Both the past and present status of film workers signifies that film labour has always been outside the frame of State interventions. The reports published by these committees constitute the sole credible and available source for interpreting the role of the State in defining film labour. Such a study also helps in understanding the trajectories of the ongoing negotiations being held by the film workers with the State for achieving autonomy and self-definition, as also a measure of agency. [ABSTRACT FROM AUTHOR]

The article discusses the U.S. motion picture industry's creation and promotion of family-appropriate films in the 1930s. Focus is given to the level of impact the Production Code developed by the Motion Picture Producers and Distributors of America, Inc. (MPPDA), had on the industry's shift away from the production of more adult-themed features during this period. Also examined is the connection between the rise of family films and the industry's embrace of sound in motion pictures. Family films discussed include "Little Women" and "Alice in Wonderland." The Catholic Church's role in the development of the MPPDA'S Production Code is also highlighted.

This article examines the relationship between the Central Intelligence Agency and the Hollywood film industry from 1947 to 1959. Surprisingly, the CIA was almost entirely absent from American cinema screens during this period, and their public profile in other popular media, including television and the press, was virtually nonexistent. This conspicuous lacuna of publicity coincided with what some scholars have termed the “Golden Age” of US covert action – an era of increasing CIA intervention in Italy, Iran and Guatemala, to name only the most prominent examples. How was it that the CIA managed to maintain such a low public profile and in the process evade popular scrutiny and questions of accountability during such an active period of its history? Utilizing extensive archival research in film production files and the records of the CIA themselves, this article suggests that Hollywood filmmakers adhered to the CIA's policy of blanket secrecy for three interrelated reasons. First, it suggests that the predominance of the so-called “semidocumentary” approach to the cinematic representation of US intelligence agencies during this period encouraged filmmakers to seek government endorsement and liaison in order to establish the authenticity of their portrayals. Thus the CIA's refusal to cooperate with Hollywood during this period thwarted a number of attempts by filmmakers to bring an authentic semidocumentary vision of their activities to the silver screen. Second, up until the liberalization of American defamation law in the mid-1960s, Hollywood studio legal departments advised producers to avoid unendorsed representations of US government departments and officials through fear of legal reprisal. Finally, this article suggests that the film-industry censor – the Production Code Administration – was instrumental in reinforcing Hollywood's reliance upon government endorsement and cooperation. This latter point is exemplified by Joseph Mankiewicz's controversial adaptation of Graham Greene's The Quiet American. Overturning existing scholarship, which argues that CIA officer Edward Lansdale played a decisive role in transforming the screenplay of Greene's novel, this article suggests that Mankiewicz's alterations were made primarily to appease the Production Code Administration. [ABSTRACT FROM PUBLISHER]

Historically, in both Australia and the United States, the issue of film censorship has been a source of conflict between the film industry, community groups and the government. This article compares the methods used to regulate film content in each jurisdiction between 1900 and 1940. It argues that while the legal structure and community pressure groups had a significant influence on the form of control that was implemented, it was the economic strength and structure of the film industry in each country that played a pivotal role in determining the method of film censorship that was adopted. [ABSTRACT FROM AUTHOR]

The 1980-90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980-90s Bengali cinema present only the 'crisis-ridden' scenarios of the Bengali film industry?suffering from multiple problems. Interestingly, this marginalized and unacknowledged cinema of the 1980- 90s almost became synonymous to the concept of the 'B-grade' cinema, although it is not similar in formation, circulation and reception like the other established B-circuit or B-grade cinemas across the world. This paper aims to criticize this simpler 'crisis narrative' scenario by looking at the categories of class and audience and questioning the relevance of issues related to the popularity of these films. In brief, our article aims to problematize the notion of what is 'B-grade' cinema in the context of the Bengali cinema of the 1980-90s and by referring to this film culture, it tries to open up some other possibilities to which this notion can refer. [ABSTRACT FROM AUTHOR]

Categorization processes are generally treated as consistent mappings of the underlying characteristics that they group. Yet, in many cases, the identities of actors influence these processes. When identity matters, high-status actors often obtain more favorable classifications. We examine these processes in the context of the Motion Picture Association of America's parental guidance classifications of movies (G, PG, R, NC-17). We find that, conditional on a given level of content, films distributed by the Association's members and those that involve more central producers and directors receive more lenient classifications than those carried by independent distributors and involving more peripheral personnel. Conversely, and again conditional on content, films involving directors with a history of producing R-rated features receive more restrictive ratings. We discuss the mechanisms that might account for these effects. Regardless of the mechanism, however, because ratings influence revenue and consequently profitability, the movie certification system in the United States places independent distributors and peripheral individuals at a disadvantage, relative to their larger and more central rivals. [ABSTRACT FROM AUTHOR]

The Supreme Court case Joseph Burstyn v. Wilson (1952), not only declared the vague-definition of sacrilege on Italy film titled Miracle (1950), but concluded that expression by means of motion pictures is included within the free speech and free press guaranty of the First and Fourteenth Amendments. This paradigm-shift case deeply influenced the transformation from American film censorship system to rating system. Investigating the reasons behind Supreme Court's decision, this thesis shed light on present a detail description of film censorship history. [ABSTRACT FROM AUTHOR]

Anti-radicalism in the United States has a long history. During World War I, it was transformed into anti-communism and became embedded in the political culture of the United States for the next seventy-plus years. The author states that there were many varieties of anti-communism, but it can be divided into two main categories: official or governmental, and unofficial or nongovernmental. This article traces the development of those varieties that most impacted the motion picture industry, led to the blacklisting of hundreds of employees, and cast a pall of censorship over movie making. [ABSTRACT FROM AUTHOR]

The objective of this work is to identify collective memory shapes in Lithuanian fiction TV and cinema film during brezhnevian period (1968-1980). According to new popular theoretical approaches this work analyses the specific source of history -- fiction film -- so why his research brings Lithuanian fiction film up-to-date usual resources of history. According to the research conclusions, there are made new methodical approaches, which can help to classify fiction films in which it can be seen past representations. In other hand, analysis of archival origins helps to reconstruct soviet film industry system of Lithuania (censorship, the specific "control-gear" of films) and contecstual analysis, which identifies the main political and creative displacements. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. [ABSTRACT FROM AUTHOR]

This article traces clandestine film censorship in colonial Hong Kong during the Cold War, Based on film studio records, press coverage, historical accounts, and recently declassified government documents, albeit limited and incomplete, the article examines sample cases and controversial foreign and Chinese films to throw light on the predicament of cross-border film exhibition in a distinctively politicized period. The evidence and arguments in this study point to a different conceptualization of transnationality and boundary-crossing of cinema grounded in its specific historical and geopolitical configuration. It is less about the easy traffic of capital, human resources, commodities, and ideas across the border than the dangerous trafficking of movie images, ideologies, human actions and propagandas that could destabilize the territorial boundary and its political status quo. Film screening and viewing in the colony are subject to strict official surveillance to quarantine the visuality of politics in the shadow of Cold War paranoia. [ABSTRACT FROM AUTHOR]

The article focuses on the growth of Nollywood in the entertainment industry of Africa. The emergence of Nollywood was influenced by the entertainment industry's adoption of political doctrines and various conceptualizations of pan-Africanism, Afrocentrism and Negritude. The emergence of African film in the 1960s typified by the work of Ousmane Sembene, was positioned in terms of this ideological mission. Meanwhile, the author stressed that film industry's problem is political censorship.

The author focuses on the impact of de-Sovietization of Soviet Union on Russian film directors. The author highlights the changes in the country's cinematic production, including the freedom from censorship, huge cutbacks in state subsidies, the breakdown of the film-distribution infrastructure, and audiences' unprecedented insatiable appetite for action-packed Western entertainment.

The article focuses on Joe Breen who won the fourth honorary Oscar Award at the twenty-sixth Academy Awards ceremony held on March 25,1954. He was awarded for his conscientious, open-minded, and dignified management of the Motion Picture Production Code. Breen had served almost twenty-one years as the head of the Production Code Administration (PCA), the body that censored all films shown in the theatres of the U.S. Breen had cultivated a reputation that bore little resemblance to open-minded and dignified. As a chief enforcer and interpreter of the Production Code, Breen was capable of being high handed and capricious. Breen was totally dedicated to enforcing both the spirit and the letter of the code and was also capable of quoting passages in the Code that did not exist. For many film historians, the image of Joe Breen is that of a belligerent, profane and sanctimonious bigot. Although he presented himself to Hollywood as a self-confident and indefatigable defender of the Code, private correspondence of Breen reveals a very different picture.

Discusses the rules governing the censorship of motion pictures in China as of August 2004. Classifications of motion pictures; Duties of the film censorship committee established by the Ministry of Radio, Film, and Television; Prohibitions on the contents of motion pictures.

Pennsylvania was one of the leading proponents of state-controlled censorship. As such, the Pennsylvania State Board of Censors provides an interesting case study of government-legislated film censorship boards. This article is about the latter era of the Pennsylvania State Board of Censors and Ellis Paxton Oberholtzer's tenure as Board Secretary, which appeared in the Summer 1999 issue of the Pennsylvania Heritage. Oberholtzer's tenure coincided with an era of great societal reform in the U.S. Oberholtzer believed that the majority of Americans were depraved and needed someone to supervise what was being produced by the movie industry for their viewing. As a member of the Board of Censors, Oberholtzer felt that he was caught in the middle between an uneducated populace and greedy film makers who were devoid of conscience.

Focuses on the role of actress Isabel Sarli and director Armando Bo on censorship during a volatile period of Argentine history characterized by prohibition and military control. Commodity of the Sarli-Bo motion pictures; Roles played by Sarli in different motion pictures; Career profile of Sarli.

The article describes the career and films directed by Chinese filmmaker Zhang Yimou. Zhang is an internationally successful filmmaker. His early films "Red Sorghum and "Judou" manifested and illustrated the rural culture in Northern China. His films usually has political purposes. He used his films to attack gerontocracy that is imminent in the country. He also made films that examined and portrayed the sexual and social conditions of women in traditional Chinese society. His film "To Live" provides an overview of the Chinese history and his dismissal of the country's communist and socialist regime. Zhang's films has repeatedly been censored and criticized by the country's Film Bureau. He has introduced an anti-art bias in his two films "The Story of Qiu Ju" (Qui Ju da guan si, 1992) and "Not One Less" (Yi ge duo bu neng shao, 1999).

The article examines how a wide range of groups, particularly the left, struggled for control of class consciousness in the U.S. during the era of silent films. From 1907 until the late 1920s, worker filmmakers had repeatedly encountered clashes with censors, film industry personnel, and federal agencies concerning the types of class images spectators would be allowed to watch. Most of the present cinematic images and understandings of class relations are partially the outcome of the struggle for control of silent films.

Explores the relation between film censorship and political legitimacy in South Korea during the period from 1987 to 1992. Influence of film censorship on Korean film production; Role of the censorship in Korean society; Mechanisms of control over the Korean cinema during the military-turned-civilian regimes from 1973 to 1986.

Focuses on motion pictures classified as for adults only by the censors in Hong Kong, China. Information on 'Intruder'; Lack of segregation from movies categorized for general patronage; Basis for the classification of the adult films; Impact of adult films on customs and copyright enforcement authorities.

This article focuses on the conjunction of censorship, moral education and images of reformed men and happy domesticity, which is premissed on the question of how the film industry made cinema respectable. Scholars have sought to answer the question by focusing principally on class, suggesting that cinema was made respectable through an appeal to middle-class audiences based on a turn to the forms and names of bourgeois culture in order to uplift cinema's cultural status. The context in which the process by which cinema was made respectable is examined.