IAFOR Journal of Cultural Studies Volume 1 – Issue 2 – Autumn 2016
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The Rise of Controversial Content in Film
The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a. -
Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
The First Amendment and Film Censorship from 1915-1952, 41 Hastings Const
Hastings Constitutional Law Quarterly Volume 41 Article 4 Number 2 Winter 2014 1-1-2014 From Spectacle to Speech: The irsF t Amendment and Film Censorship from 1915-1952 Jessica J. Hwang Follow this and additional works at: https://repository.uchastings.edu/ hastings_constitutional_law_quaterly Part of the Constitutional Law Commons Recommended Citation Jessica J. Hwang, From Spectacle to Speech: The First Amendment and Film Censorship from 1915-1952, 41 Hastings Const. L.Q. 381 (2014). Available at: https://repository.uchastings.edu/hastings_constitutional_law_quaterly/vol41/iss2/4 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Constitutional Law Quarterly by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. From Spectacle to Speech: The First Amendment and Film Censorship from 1915-1952 by JESSICA J. HWANG* Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances. - U.S. CONST. amend. I Introduction The First Amendment, often hailed as the great protector of free expression and speech, has not always meant what it means to us today. Though it boldly prohibits Congress from enacting any law "abridging the freedom of speech," the exact meaning of that phrase has changed over time. The modern First Amendment grants "special protection" to "speech on matters of public concern."' And though the United States Supreme Court recently referred to the First Amendment as "the essence of self-government,"2 such a view * J.D. -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe. -
How China's Censorship and Influence Affect Films Worldwide
October 28, 2015 Directed by Hollywood, Edited by China: How China’s Censorship and Influence Affect Films Worldwide Sean O’Connor, Research Fellow, Economics and Trade and Nicholas Armstrong, Esq., Research Fellow Disclaimer: This paper is the product of professional research performed by staff of the U.S.-China Economic and Security Review Commission, and was prepared at the request of the Commission to support its deliberations. Posting of the report to the Commission’s website is intended to promote greater public understanding of the issues addressed by the Commission in its ongoing assessment of U.S.- China economic relations and their implications for U.S. security, as mandated by Public Law 106-398 and Public Law 108-7. However, the public release of this document does not necessarily imply an endorsement by the Commission, any individual Commissioner, or the Commission’s other professional staff, of the views or conclusions expressed in this staff research report. Table of Contents Abstract ......................................................................................................................................................................3 Background ................................................................................................................................................................4 China’s Growing Film Market ...................................................................................................................................5 China’s Film Industry Development ......................................................................................................................6 -
Film Censorship As a Good Business in Colonial Korea: Profiteering Rf Om Hollywood's First Golden Age, 1926-36
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities June 2006 Film Censorship as a Good Business in Colonial Korea: Profiteering rF om Hollywood's First Golden Age, 1926-36 Brian M. Yecies University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Yecies, Brian M., Film Censorship as a Good Business in Colonial Korea: Profiteering rF om Hollywood's First Golden Age, 1926-36 2006. https://ro.uow.edu.au/artspapers/103 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Film Censorship as a Good Business in Colonial Korea: Profiteering From Hollywood's First Golden Age, 1926–1936” Brian Yecies, University of Wollongong, Australia Abstract Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign. Amid this globalization operation, the Government-General of Chōsen’s film censorship apparatus was a financially self-sustaining operation. It paid for its operation by profiteering from the application of more than 6,700 American and 630 other countries’ feature and non-feature films, a vast majority of which were approved with minor, if any, censorship changes. -
Media Law Handbook for Eastern Africa VOLUME 2
Media Law Handbook for Eastern Africa VOLUME 2 Media Law Handbook for Eastern Africa VOLUME 2 Justine Limpitlaw KONRAD-ADENAUER-STIFTUNG REGIONAL MEDIA PROGRAMME • JOHANNESBURG • 2016 Published by Konrad-Adenauer-Stiftung Regional Media Programme: Sub-Saharan Africa 60 Hume Road PO Box 55012 Dunkeld 2196 Northlands Johannesburg 2116 Republic of South Africa Republic of South Africa Telephone: +27 (0)11 214-2900 Telefax: +27 (0)11 214-2913/4 www.kas.de/mediaafrica ISBN: 978-0-9870243-4-3 © Konrad-Adenauer-Stiftung, 2016 This publication is an open source publication. Parts thereof may be reproduced or quoted provided the publication is fully acknowledged as the source thereof. Cover design: Jocelyn Adamson Design Author photograph: Lisa Trocchi, [email protected] Editing, layout Tracy Seider, Tyrus Text and Design and production: [email protected] Printing: United Litho, South Africa v Acknowledgements It is not easy to write a book about media law in Eastern Africa because of the difficulty in accessing the laws. In a number of countries, consolidated laws are not published so one has to piece together the current state of the law based on a series of amendment acts. Law reports are not published, so copies of actual judgments have to be obtained from the courts. In many countries there is only one source of statutes or regulations: the government printer, with a single outlet in the capital. Not only is it tough for journalists in these countries to access laws, it is tough for an author to track them down. This book would therefore not have been written without the very great assistance provided by lawyers in or from these countries. -
The Constitutionality of Official Censorship of Motion Pictures
THE CONSTITUTIONALITY OF OFFICIAL CEN- SORSHIP OF MOTION PICTURES* MELVILLE B. NimaR TOWARD the turn of the century, the great English legal scholar, Sir Frederic Maitland, wrote: "Our increasing mastery over the physical world is always amplifying the province of law, for it is always com- plicating the relationships which exist between human beings."' This observa- tion, the truth of which has become increasingly apparent with the passage of time, seems to be particularly applicable to the motion picture industry. The profound effect of this industry upon human relationships has long been recognized. As the impact of this phenomenon has become felt, the "province of law" has, in turn, reflected its development in many areas. 2 This paper 3 is concerned with one such area-that of official censorship. I The constitutionality of official censorship was first considered by the United States Supreme Court in 1915, when the motion picture industry * This paper was written pursuant to a grant from The Fund for the Republic. The author wishes to acknowledge the valuable research assistance of Richard Sinsheimer. t M~ember, Beverly Hills, California Bar; author of numerous law review articles dealing with copyright and related matters. I The Maitland Reader 86 (1957). 2 E.g., anti-trust: United States v. Paramount Pictures, Inc., 334 U.S. 131 (1948); copy- right: Kalem Co. v. Harper Brothers, 222 U.S. 55 (1911); right of privacy: Melvin v. Reid, 112 Cal.App. 285, 297 Pac. 91 (1931). 3 The term "official censorship" is here used to describe censorship by legally constituted instrumentalities of state or local government, as distinguished from censorship by private groups. -
The Effect of Censorship on American Film Adaptations Of
THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Major Subject: English THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Douglas Brooks Committee Members, Anne Morey Arnold Krammer Head of Department, M. Jimmie Killingsworth May 2008 Major Subject: English iii ABSTRACT The Effect of Censorship on American Film Adaptations of Shakespearean Plays. (May 2008) Ruth Ann Alfred, B.A., Texas A&M University Chair of Advisory Committee: Dr. Douglas Brooks From July 1, 1934, to November 1, 1968, the Production Code Administration (PCA) oversaw the creation of American motion pictures, in order to improve Hollywood’s moral standing. To assist in this endeavor, the studios produced film adaptations of classic literature, such as the plays of William Shakespeare. In the first two years of the Code’s inception, two Shakespearean films were produced by major studios: A Midsummer Night’s Dream (1935) and Romeo and Juliet (1936). But were these classic adaptations able to avoid the censorship that other films endured? With the use of archived collections, film viewings, and an in-depth analysis of the plays, multiple versions of the scripts, and other available surviving documents, I was able to see how these productions were affected by the enforcement of film censorship and what it said about the position of Shakespeare’s work in society. -
Presentation to Beacon for Free Expression Censorship of Film
Presentation to Beacon for free expression Censorship of film, broadcast and Internet Many kinds of censorship exist in the world – depending upon the nature of the government, it’s relationship with its people, the values of a society and wider international concerns. In addition, the form censorship takes can vary a great deal depending upon the media. The way censorship works in broadcasting, film and the Internet is a good illustration of this. Censorship can be understood in one of two ways. One is to see it as a system in its own right, with its own rules and logic. Censors prefer this – they can talk about the national interest, safeguarding morals etc. and imply that the differences between different kinds of censorship is purely one of degree. Or it can be understood as a restriction upon the fundamental human right to freedom of expression. Since the founding of the United nations, freedom of expression has been seen as one of the foundation rights of a society – something which determines the extent to which other rights and freedoms an exists. From this point of view any restriction to free expression has to be a “necessary evil”. It must comply with certain principles to be consistent with international law and standards – the grounds for censorship must be defined in law, not left to the censors discretion, and the censorship must serve a public interest that outweighs the damage caused by the censorship. From this latter perspective it is possible to make a few generalisations about censorship across all three of these media – all I have time for in the time available to me. -
Annexe Ii Analysis of the Domestic Law Concerning
Strasbourg, 10 October 2008 CDL(2008)090add2 Study no. 406 / 2006 Arc-en-ciel EUROPEAN COMMISSION FOR DEMOCRACY THROUGH LAW (VENICE COMMISSION) ANNEXE II ANALYSIS OF THE DOMESTIC LAW CONCERNING BLASPHEMY, RELIGIOUS INSULTS AND INCITING RELIGIOUS HATRED IN ALBANIA, AUSTRIA, BELGIUM, DENMARK, FRANCE, GREECE, IRELAND, THE NETHERLANDS, POLAND, ROMANIA, TURKEY, UNITED KINGDOM on the basis of replies to a questionnaire CDL(2008)090add2 - 2 - TABLE OF CONTENT QUESTIONNAIRE ............................................................................................................3 ALBANIA ...........................................................................................................................5 AUSTRIA.........................................................................................................................10 BELGIUM ........................................................................................................................17 DENMARK ......................................................................................................................24 FRANCE..........................................................................................................................37 GREECE .........................................................................................................................46 IRELAND.........................................................................................................................51 THE NETHERLANDS.....................................................................................................57 -
1 Introduction
As the Korean Ministry of Culture’s representative in London I have had the pleasure of overseeing the operations of the Korean Cultural Centre UK and its many offsite festivals since 2012. The cornerstone of these activities has long been the much anticipated annual London Korean Film Festival. With a small, dedicated team we have steered the festival to its 10th anniversary and now that it is upon us I am sure that you will agree we have prepared a programme that is our best yet. With 52 films at prime cinemas across London, this year we not only wel- come the best from Korea’s box office but also an opportunity to meet with the star actors Hwang Jung-min and Moon So-ri. The festival has always supported the works of lesser known individuals within the Korean film industry and I am pleased to see the inclusion of an Emerging Directors strand as well as the ever popular Mise-en-Scène shorts. We welcome back the strand selected by the Busan International Film Festival and celebrate our 10th anniversary with a selection of audience choice films from our last 10 years. It’s not just our film festival that celebrates an anniversary this year, we also have a stream dedi- cated to our festival partner CJ Entertainment that in 2015 marks its 20th year in film production. Add to this our family films, and of course the Classics Revisited, and you can see how this year’s festival has something for everyone. The festival, for the last 10 years has prided itself on its accessibility and interaction with audiences, and this year is no exception.