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Books on the topic 'Effect of censorship on'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Hodgkiss, Ros. Media effects and censorship. London: Film Education, 1999.

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2

Maddocks, R. J. Facets of Cameroun in wartime: The cause and effect of postal censorship, 1939-1945. Newbury, Berkshire: Philip Cockrill, 1985.

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3

Institute, Aspen, Bertelsmann Stiftung (Gütersloh Germany), and Jerusalem International Book Fair. (14th: 1989), eds. Toward the year 2000: new forces in publishing: Report of a Forum in Jerusalem March 14-16, 1989. Gutersloh, Federal Republic of Germany: Bertelsmann Foundation Publishers, 1989.

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4

Subcommittee, United States Congress House Committee on Government Operations Government Activities and Transportation. Effect of last year's reauthorization process on activities of the National Endowment for the Arts: Hearing before the Government Activities and Transportation Subcommittee of the Committee on Government Operations, House of Representatives, One Hundred Second Congress, first session, June 19, 1991. Washington: U.S. G.P.O., 1991.

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5

United States. Congress. House. Committee on Government Operations. Government Activities and Transportation Subcommittee. Effect of last year's NEA reauthorization process: Hearing before the Government Activities and Transportation Subcommittee of the Committee on Government Operations, House of Representatives, One Hundred Second Congress, first session, October 28, 1991. Washington: U.S. G.P.O., 1993.

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6

Weza, Sizani. The effects of government media regulation on foreign correspondents. [Zimbabwe?: s.n., 2003.

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7

Mokhtar, Aznita. See no evil,hear no evil,speak no evil: A closer look at how strict censorship has effected advertising in Malaysia. London: LCP, 2000.

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8

1904-, Morris Richard Brandon, ed. Censorship. New York: F. Watts, 1986.

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9

Monroe, Judy. Censorship. New York: Crestwood House, 1990.

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10

Steffens, Bradley. Censorship. San Diego, Calif: Lucent Books, 1995.

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11

Philip, Steele. Censorship. Oxford: Heinemann, 1992.

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12

Censorship. Detroit: Greenhaven Press, 2010.

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13

Censorship. Westport, Conn: Greenwood Press, 2008.

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14

Lang, Susan S. Censorship. New York: F. Watts, 1993.

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15

Steffens, Bradley. Censorship. San Diego: Greenhaven Press, 2001.

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16

Acred, Cara. Censorship. Cambridge: Independence, 2015.

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17

Merino, Noël. Censorship. Detroit: Greenhaven Press, 2010.

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18

Censorship. New York: Marshall Cavendish Benchmark, 2005.

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19

Barbour, Scott. Censorship. Edited by Barbour Scott 1963-. Detroit: Greenhaven Press, 2010.

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20

Censorship. New York: Facts on File, 1998.

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21

Lankford, Ronald D. Censorship. Detroit: Greenhaven Press, 2010.

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22

Beckelman, Laurie. Censorship. New York: Crestwood House, 1999.

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23

Philip, Steele. Censorship. New York: New Discovery Books, 1992.

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24

Commission, Australia Law Reform. Censorship procedure. Sydney, N.S.W: The Commission, 1991.

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25

Media censorship. Edina, Minn: ABDO Pub. Company, 2009.

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26

Ryan, Margaret. Censorship procedure. Sydney, NSW: Australian Law Reform Commission, 1991.

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27

Pollak, Michael. Sense & censorship: Commentaries on censorship violence in Australia. Balgowlah, NSW: Reed, 1990.

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28

Kate, Burns. Fighters against censorship. San Diego: Lucent Books, 2004.

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29

Sherrow, Victoria. Censorship in schools. Springfield, NJ: Enslow, 1996.

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30

The censorship debate. Cambridge: Independence, 2006.

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31

Terry, O'Neill. Censorship, opposing viewpoints. Edited by O'Neill Terry 1944-. St. Paul, Minn: Greenhaven Press, 1985.

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32

Thelma, McCormack, ed. Censorship and libel: The chilling effect. Greenwich, Conn: JAI Press., 1990.

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33

Censorship Effect: Baudelaire, Flaubert, and the Formation of French Modernism. Oxford University Press, Incorporated, 2016.

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34

Glanville, Jo. Net Effect: The Limits of Digital Freedom. SAGE Publications, Limited, 2011.

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35

McCormack, Thelma. Studies in Communications: Censorship and Libel : The Chilling Effect (Studies in Communications). JAI Press, 1990.

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36

Norton, Barley. Music and Censorship in Vietnam since 1954. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.29.

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This chapter traces the history of music censorship in Vietnam since 1954 with reference to a broad range of music genres. It discusses music censorship from 1954 to 1975, when Vietnam was divided into North and South. The tight ideological control established by the Vietnamese Communist Party in the North is compared with music movements linked to antiwar protests in the South. The chapter then examines the period of severe censorship following the end of the Vietnamese-American war in 1975 and considers how the cultural climate changed in the reform era after 1986. It highlights the limits of cultural freedom in the reform era and discusses how music censorship has become intertwined with concerns about the effects of globalization on morality and national identity. Finally, the chapter addresses the impact of technology since the late 1990s, paying particular attention to Vietnamese rap and the potential for musicians to use the Internet to bypass conventional systems of state censorship.

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37

Hayes, Andrew F., and Jörg Matthes. Self-censorship, the Spiral of Silence, and Contemporary Political Communication. Edited by Kate Kenski and Kathleen Hall Jamieson. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199793471.013.31.

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This chapter introduces the tenets of spiral of silence theory as a theory of group dynamics as it relates to the interplay among the media, interpersonal talk, and political discussion. After reviewing some of the findings related to its key propositions, its applicability to modern political communication and mass media research is questioned and fine-tuned. An argument is made that future researchers should abandoned the quest for evidence whether public opinion expression is guided by perceptions of the opinion climate, especially using ad hoc measures that have not been validated. Rather attention should be directed toward examining the role of social pressures in motivating information seeking about the opinion climate and how individual differences such as fear of isolation, attitude certainty, and moral conviction can influence the effect of those perceptions on publicly-observable political behavior.

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38

Drewett, Michael. Exploring Transitions in Popular Music. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.1.

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This article examines the censorship of popular music in South Africa during the apartheid (1948–1994) and post-apartheid years, as well as changes in musical censorship resulting from the country’s transition to democracy. It considers the different forms of censorship in South Africa, paying particular attention to central government mechanisms of music censorship through the former Directorate of Publications and the South African Broadcasting Corporation. Despite the relaxation of formal mechanisms of censorship since the early 1990s and the significant freedom of expression enjoyed by musicians, the article shows that regulation and censorship of popular music remain in effect. Finally, it assesses the current situation with regards to musical censorship in South Africa and the implications of present legislation for the future.

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39

Effect of last year's NEA reauthorization process: Hearing before the Government Activities and Transportation Subcommittee of the Committee on Government Operations, House of Representatives, One Hundred Second Congress, first session, October 28, 1991. Washington: U.S. G.P.O., 1992.

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40

Notley, Margaret. "Taken by the Devil". Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190069865.001.0001.

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The book takes censorship as an entry point into Berg’s Lulu. Beginning in 1894 with the suppression of the Ur-Lulu, Wedekind’s original play, responses to acts of censorship played a role in ultimately determining the opera’s shape and tone. When Wedekind rewrote material from the Ur-Lulu as two supposedly self-sufficient plays, Erdgeist and Die Büchse der Pandora, he responded in different ways to the threat of further censorship. The resulting discrepancies between the later plays, second order consequences of censorship, created obstacles to the joining of them that Berg and other dramaturges, beginning with Wedekind himself, would undertake. Berg worked to overcome the second order consequences by composing intricate leitmotivic connections between the opera’s halves, each based on one of the plays. Recognizing fundamental differences between the plays, this book seeks to recover some of the nuances in the plays and Berg’s treatment of them that have been obscured by assumptions of their unity. It also considers the contradiction between dramatic material that many spectators find sordid and the beauty of much of the music, in particular three musical passages that make a Liebestod effect, and traces this to differences between Wedekind and Berg. The artistic stance known as fin-de-siècle decadence was responsible for deliberately offensive features of the Ur-Lulu. Berg associated the Lulu character with the beauty of major-minor tonality, a musical system over-ripe and in that sense decadent at the turn of the century, in that way enabling a problematic symbolic reading of the also problematic misogynistic material.

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41

Ehrlich, Matthew C., and Joe Saltzman. Power. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039027.003.0005.

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This chapter examines how popular culture portrays journalism's complex entanglements with power. Critics have pointed to the circumstances under which the press may violate the trust of the powerless and also how it can serve as an instrument of those who do hold political or economic power. Many popular culture works graphically depict the damage that the press can inflict on individuals, even if they might finally show journalists trying to do the right thing in the end. The negative effects of state control or censorship of the press are often dramatized, with the implication being that privately owned and commercially subsidized news media are right and just. However, pop culture also shows that corporate pressures stemming from private control can themselves lead to censorship or coercion.

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42

Dixon, Travis L. Rap Music and Rap Audiences Revisited. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.24.

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This current paper offers a review of some of the early rap studies and discusses some of the more recent rap investigations that have been dominated by negative effects investigations. It argues that the suspicion of negative effects and stereotyping of African Americans have driven support for censorship of this musical genre. Although psychologists and lay critics have focused on the potential negative effects of rap music, the current chapter provides evidence that the effects are not all negative and that rap music audiences may use their culture and “agency” to empower themselves.

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43

Noël, Merino, ed. Censorship. Detroit: Greenhaven Press, 2010.

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44

Morris L. and Schwartz, Alan U. Ernst. Censorship. Macmillan Publishing Company, 2000.

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45

Nakaya, Andrea C. Censorship. Greenhaven Press, 2005.

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46

Coles, Olivia. Censorship. Independence Educational Publishers, 1998.

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47

Censorship. Greenhaven Press, 2007.

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48

Censorship. Bloomsbury Publishing Plc, 2010.

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49

1940-, Amey L. J., and Rasmussen R. Kent, eds. Censorship. Pasadena, Calif: Salem Press, 1997.

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50

1963-, Burns Kate, ed. Censorship. San Diego, Calif: Greenhaven Press, 2004.

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