Title: Bennett, Breen and the Birdman of Alcatraz: A Case Study of Collaborative Censorship between the Production Code Administration and the Federal Bureau of Prisons Author information: Dr David Eldridge David Eldridge is senior lecturer in American Studies at the University of Hull. He is the author of Hollywood’s History Films (I.B. Tauris, 2008) and he is currently working on a monograph concerning the impact of censorship on the American film industry’s representation of history. His other publications on this subject include ‘Hollywood Censors History’, 49th Parallel, 40 (2006), and ‘Some Like It Hot and the Virtues of Not Taking History Too Seriously,’ in J.E Smyth, ed., Hollywood and the American Historical Film (Palgrave McMillan, 2012). Contact Details: School of Languages, Linguistics and Cultures University of Hull Hull East Yorkshire United Kingdom HU5 3EF
[email protected] +44 (0)7943 833942 Abstract: In bringing to the screen the life of murderer Robert Stroud in Birdman of Alcatraz (United Artists, 1962), filmmakers encountered official obstruction from the director of the Federal Bureau of Prisons, James V. Bennett. Campaigning for the release of Stroud, Burt Lancaster retaliated by exposing Bennett’s efforts to censor the film as evidence of a personal vendetta against the prisoner. However, new archival research demonstrates how the Bureau had collaborated with Hollywood’s own censorship body, the Production Code Administration, for many years - and that Birdman was in fact the culmination of a decades- long struggle to control all films about Alcatraz. 1 Bennett, Breen and the Birdman of Alcatraz A Case Study of Collaborative Censorship between the Production Code Administration and the Federal Bureau of Prisons In 1946, the warden of Alcatraz Penitentiary wrote to his boss, James V.