Relevant bibliographies by topics / Motion pictures – Censorship – Zimbabwe

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Motion pictures – Censorship – Zimbabwe'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Motion pictures – Censorship – Zimbabwe"

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Wall, Michael. "Censorship and Sovereignty: Shanghai and the Struggle to Regulate Film Content in the International Settlement." Journal of American-East Asian Relations 18, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/187656111x577456.

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AbstractThe Nationalist government struggled to control the content and exhibition of motion pictures in Shanghai in the 1920s. Officials of the Shanghai Municipal Council in the foreign-controlled International Settlement, empowered by the right of extraterritoriality, stymied Chinese efforts to control foreign – predominantly American – motion pictures shown in the enclave. The struggle over political control was exacerbated by increasing nationalist sentiment and belief that foreign motion pictures contained distorted and unflattering images of China and its people. Demonstrations targeted
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FRONC, JENNIFER. "Local Public Opinion: The National Board of Review of Motion Pictures and the Fight against Film Censorship in Virginia, 1916–1922." Journal of American Studies 47, no. 3 (2012): 719–42. http://dx.doi.org/10.1017/s0021875812001375.

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This article examines the conflict that ensued when the National Board of Review of Motion Pictures (a New York City-based organization that opposed any form of legal film censorship) entered the debate over Virginia's state film censor board. Virginia's engagement with film censorship emerged out of its history and politics, particularly in regard to race relations. Elite white Virginians lived in fear both of federal intervention (with the specter of Reconstruction not far behind them) and of a local usurpation of political power by black Virginians. The National Board of Review (NBR) was la
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Black, Joel E. "Ferlinghetti on Trial." Boom 2, no. 4 (2012): 27–43. http://dx.doi.org/10.1525/boom.2012.2.4.27.

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In spring 1957 the Juvenile Division of the San Francisco Police Department seized copies of Howl and charged the poem's publisher, Lawrence Felinghetti, with obscenity. Tried in summer 1957 and defended by the American Civil Liberties Union, Ferlinghetti was exonerated by a District Court judge. Scholars typically place the Howl trial at the beginning of a cultural and social revolution that flourished in the 1960s or place it amid the personal lives and rebellions of the actors composing the Beat Generation. However, these treatments do not fully consider the ways the prosecution reflected t
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Fronc, Jennifer. "“HISTORICAL PRESENTATION” OR “LIBEL TO THE RACE”?: CENSORSHIP AND THE BIRTH OF A NATION." Journal of the Gilded Age and Progressive Era 14, no. 4 (2015): 612–15. http://dx.doi.org/10.1017/s1537781415000432.

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On April 9, 1915, the fiftieth anniversary of General Lee's surrender at Appomattox, The Birth of a Nation opened in Boston. Audience members were “prepared for the unusual” the moment they entered the Tremont Theatre. After “a young man in evening dress and a silk hat” took tickets, “two young women in flounced hoop skirts and with long curls … ma[d]e a sort of graceful minuet bow, and hand[ed] you a program.” While “soldiers ‘on guard’ in the Civil War uniforms of the North and South” flanked the aisles, another costumed young woman “escort[ed] you to your seat.” As the film projector flicke
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Waters, Clay. "Monitoring the Movies: The Fight Over Film Censorship in Early Twentieth-Century Urban America by Meridith Broussard." Journal of Intellectual Freedom & Privacy 3, no. 2-3 (2019): 15. http://dx.doi.org/10.5860/jifp.v3i2-3.6777.

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The chapters are arranged chronologically, retracing the national fight over film content, as various taboo subjects like abortion, white slavery, and racial intermarriage were addressed (or exploited) within the emerging medium. Similar ground was covered by Lee Grieveson in Policing Cinema: Movies and Censorship in Early-Twentieth-Century America (2004), the subject of a lengthy note in Monitoring the Movies. But Fronc’s work is bolstered by voluminous correspondence from the National Board of Review of Motion Pictures, and the 40 pages of notes (in addition to an appendix, bibliography, and
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"Forbidden films: censorship histories of 125 motion pictures." Choice Reviews Online 39, no. 09 (2002): 39–4928. http://dx.doi.org/10.5860/choice.39-4928.

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"Banned in the media: a reference guide to censorship in the press, motion pictures, broadcasting, and the Internet." Choice Reviews Online 36, no. 05 (1999): 36–2585. http://dx.doi.org/10.5860/choice.36-2585.

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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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 1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the
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Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1033.

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Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assume
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Deck, Andy. "Treadmill Culture." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2157.

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Since the first days of the World Wide Web, artists like myself have been exploring the new possibilities of network interactivity. Some good tools and languages have been developed and made available free for the public to use. This has empowered individuals to participate in the media in ways that are quite remarkable. Nonetheless, the future of independent media is clouded by legal, regulatory, and organisational challenges that need to be addressed. It is not clear to what extent independent content producers will be able to build upon the successes of the 90s – it is yet to be seen whethe
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Dissertations / Theses on the topic "Motion pictures – Censorship – Zimbabwe"

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Barbieri, Maria. "Film censorship in Hong Kong." Thesis, Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1947118X.

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So, Mei-fong. "The feasibility of implementing industry self-regulation of film censorship in Hong Kong." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36411255.

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Davis, William. "To make the better film movies, women's clubs and the fight over censorship in the American South, 1907-1934 /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-3/davisw/williamdavis.pdf.

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So, Mei-fong, and 蘇美芳. "The feasibility of implementing industry self-regulation of film censorship in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36411255.

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Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.

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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government le
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Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.

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Esquivel-King, Reyna M. "Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601229993353.

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Soler, i. Alomà M. Encarnació. "La sarsuela en el cinema com a imatge del quotidià : 1896-1940." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/403462.

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Un dels més reeixits descobriments nascut a les acaballes del segle XIX, el cinema, marcà definitivament la societat aportant noves formes de comunicació i de relació social. Aquest nou art esdevindria no sols una font de distracció i coneixement sinó que, com qualsevol producció artística de l’ésser humà, deixaria una empremta que amb el temps mostraria la seva magnitud com objecte patrimonial. Néta i filla de músics vaig aprendre a estimar la música, sense distinció. Per aquest motiu, lamentava el rebuig vers el conjunt d’un gènere centenari, la sarsuela, que tants esforços i lluita va com
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Rwafa, Urther. "Language censorship in selected Zimbabwean films in Shona and English." Thesis, 2012. http://hdl.handle.net/10500/9486.

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The aim of this study was to explore language censorship in Zimbabwean films in Shona and English. The study concentrated on the themes of politics, culture and economic in the genre of the documentary, feature and short film genres. It was demonstrated that the Zimbabwean laws enabled authorities to impose censorship strategies that ranged from banning, restriction, persecution of filmmakers, withdrawal of films from circulation, and threats of withdrawal of permits of film retailers. These visible, direct and banal forms of censorship have forced some filmmakers to flee the cou
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Alp, Erin Elif. "Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship." Thesis, 2016. https://doi.org/10.7916/D89K49RS.

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This dissertation asks how the structure of moral authority and media viewership in America has changed over the course of the 20th century. In order to address this question, I examine the ways in which American films are, and have been, labeled inappropriate or appropriate for public viewership. I ask how censorship, regulation and rating systems work to create and manage moral ambiguity, and what types of ramifications moral ambiguity is thought to have on viewers. I also address the types of problems associated with American cinema over time, and propose several analytical dimensions to ca
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Books on the topic "Motion pictures – Censorship – Zimbabwe"

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Canadian Broadcasting Corporation. International film censorship. CBC Transcripts, 1985.

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Cinema, censorship, and sexuality, 1909-1925. Routledge, 1988.

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Cinema, censorship and sexuality: 1909-1925. Routledge, 1989.

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Flickering shadows: Cinema and identity in colonial Zimbabwe. Ohio University Press, 2002.

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Censors, Malawi Board of. Guidelines to censorship. The Board, 1991.

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Censorship and sexuality in Bombay cinema. University of Texas Press, 2011.

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The money shot: Cinema, sin, and censorship. Pluto Press Australia, 2001.

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Pakistan. The Motion Pictures Ordinance, 1979: With censorship rules and films censorship code. Punjab Law Book House, 1999.

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Sex and violence: The Hollywood censorship wars. Paradigm Publishers, 2009.

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Public Service Broadcasting Trust (New Delhi, India), ed. Women and censorship. Public Service Broadcasting Trust, 2006.

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Book chapters on the topic "Motion pictures – Censorship – Zimbabwe"

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Tsika, Noah. "Veto Power." In Screening the Police. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.003.0004.

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Throughout the first half of the twentieth century, police censorship of motion pictures was a significant and always controversial index of the expansion of law enforcement agencies to include activities that many Americans deemed unbecoming of cops. As such, it offers considerable insight into contemporary debates over the scope of police power in the United States. Today’s arguments have deep roots, including in a practice that was far more prevalent—and far more contentious—than conventional histories allow. When it came to vetting motion pictures, the methods of municipal police departments varied widely. But they often illuminated broader problems: Detroit police officers who voted to ban anti-Nazi films were themselves outspoken white supremacists; Chicago cops who balked at cinema’s suggestions of eroticism were also, outside of departmental screening rooms, aggressively targeting sex workers; and Southern lawmen who sought to eliminate intimations of racial equality were known for their brutal treatment of Black residents. Police censorship of motion pictures took place not in a vacuum but within the ever-widening ambit of law enforcement, and it merits scrutiny as a measure of the authority, influence, and cultural identities of municipal cops.
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Lake, Jessica. "Hollywood Heroes and Shameful Hookers." In The Face That Launched a Thousand Lawsuits. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300214222.003.0007.

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This chapter examines the cases in which individuals used a right to privacy to claim ownership over their life stories, when appropriated by film studios for fiction films. It tracks the move of industrial image making from the East Coast to the West coast of the United States in the 1910s and compares the different contexts of New York’s privacy laws with California’s, informed as they were by a utopian “pursuit of happiness” guaranteed by the Californian Constitution. This chapter also examines the right of privacy in relation to the censorship demands of the Hays Code and considers the onscreen celebration of men’s heroic “public” lives compared to the shaming of women’s “private” lives. It discusses the motion pictures CDQ or Saved by Wireless (1911), The Red Kimono (1925), Yankee Doodle Dandy (1944) and The Sands of Iwo Jima (1949). Whereas female plaintiffs took issue with being condemned or marginalized by films because of their sexuality (their status as hookers or divorcees), men protested the implications of being publicly celebrated for their professional deeds or achievements.
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