ISBN:
1423729005
,
9781423729006
Language:
English
Pages:
1 Online-Ressource (xvi, 237 pages)
Series Statement:
Cinema and society
Parallel Title:
Erscheint auch als
Parallel Title:
Erscheint auch als
Parallel Title:
Erscheint auch als
Parallel Title:
Erscheint auch als
DDC:
302.2343083
Keywords:
Cinéma et enfants / Grande-Bretagne
;
Cinéma / Censure / Grande-Bretagne
;
Cinéma et enfants
;
Cinéma / Censure
;
SOCIAL SCIENCE / Media Studies
;
Motion pictures and children
;
Motion pictures / Censorship
;
Films
;
Kinderen
;
Censuur
;
Regelgeving
;
Filmzensur
;
Film
;
Kindgerechtigkeit
;
Film
;
Kind
;
Motion pictures and children
;
Motion pictures Censorship
;
Filmzensur
;
Jugend
;
Großbritannien
;
Großbritannien
;
Jugend
;
Filmzensur
Note:
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002
,
Includes bibliographical references (pages 213-229) and index
,
The doom of a generation? -- How Bridget served the salad undressed: the regulation of cinema 1895-1929 -- It ain't no sin: the regulation of cinema 1929-1939 -- Moral panic or flapdoodle? -- Children as censors -- Matinees, clubs and children's cinema culture -- Children and cinema: control and resistance -- Appendix I: T.P. O'Connor's 43 rules of the BBFC -- Appendix II: BBFC codified grounds for censorship, 1926 -- Appendix III: List of 'don'ts and be carefuls', adopted by California Association for guidance of producers, 8 June 1927 -- Appendix IV: Films classified as 'horrific' or certified "H" by the BBFC, 1933-40 -- Appendix V: Members of the Edinburgh Cinema Enquiry Committee
,
"Using original research, this book explores the recurring debates in Britain and America about children and how they use and respond to the media, focusing on a key example: the controversy surrounding children and cinema in the 1930s. It explores the attempts to control children's viewing, the theories that supported these approaches and the extent to which they were successful. The author develops her challenging proposition that children are agents in their cinema viewing, not victims; showing how these angels with dirty faces colonized the cinema. She reveals their distinct cinema culture and the ways in which they subverted or circumvented official censorship including the Hays Code and the British Board of Film Censors, to regulate their own viewing of a variety of films, including Frankenstein, King Kong and The Cat and the Canary"--Provided by publisher
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