Censorship in Theatre and Cinema - by Anthony Aldgate & James C Robertson (Paperback)
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<p/><br></br><p><b> About the Book </b></p></br></br>This book examines notable twentieth-century cases of censorship in theatre and cinema involving the Lord Chamberlain's theatre censorship and the British Board of Film Censors (BBFC).<p/><br></br><p><b> Book Synopsis </b></p></br></br>The first comparative study of censorship in theatre and cinema during the last century, this book examines notable twentieth-century cases involving the Lord Chamberlain's theatre censorship and the British Board of Film Censors (BBFC). Anthony Aldgate and James C. Robertson have written extensively on the subject of stage and screen censorship, and here they utilise previously unpublished Lord Chamberlain's censorship sources as well as hitherto unexplored BBFC files. They show how the two censorship agencies operated, with some interaction between them, over such controversial matters as sex, foreign affairs, juvenile crime, single-sex relationships, the 'swinging' 1960s, horror, religion and other contentious material. This wide-ranging study concludes by explaining why theatre censorship was abolished in 1968 whereas the BBFC has survived until the present day. <i>Censorship in Theatre and Cinema</i> is a valuable contribution to media history with implications for the practice of censorship in Britain today.Features* The first comparative study of censorship in both theatre <i>and</i> cinema* Accessible to both specialist and general readers alike* Covers both American and British stage and screen properties* Includes detailed analysis of various case studies to illustrate censorship procedures in action.<p/><br></br><p><b> Review Quotes </b></p></br></br><br>Censorship is an emotive subject and only the most sterling of historians venture into the minefield of cultural regulation. Tony Aldgate and James Robertson skilfully avoid either defending or denouncing the practices of the Lord Chamberlain's Office or the British Board of Film Censors, instead sitting admirably on the fence in this intriguing attempt to draw together the parallel worlds of the theatre and film censor. Aldgate and Robertson's book is a timely contribution, providing a valuable historical framework for comparing the practices of censorship in the theatre and film worlds.--Sian Lewis "Journal of British Cinema and Television"<br><p/><br></br><p><b> About the Author </b></p></br></br><p>Anthony Aldgate is a Reader in Film and History at the Open University<p>
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