Books about Censors from Amazon.com

stories, US/Argentina, tr various, bilingual .
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Hentoff's timely, fact-filled, and illuminating book describes the current assault on free speech from all points of the political spectrum--even from the traditionally liberal groups now intent on repressing opinions thought "politically incorrect.".
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As veteran Hollywood journalist David L Robb shows in this revealing insider's look into Hollywood's 'dirtiest little secret' - the final product that moviegoers see at the theatre is often not just what the director intends but also what the powers-that-be in the military want to project about America's armed forces..
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From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little known outside the ranks of the studio system, this former journalist and public relations agent was one of the most powerful men in the motion picture industry. As enforcer of the puritanical Production Code, Breen dictated "final cut" over more movies than anyone in the history of American cinema. His editorial decisions profoundly influenced the images and values projected by Hollywood during the Great Depression, World War II, and the Cold War.

Cultural historian Thomas Doherty tells the absorbing story of Breen's ascent to power and the widespread effects of his reign. Breen vetted story lines, blue-penciled dialogue, and excised footage (a process that came to be known as "Breening") to fit the demands of his strict moral framework. Empowered by industry insiders and millions of like-minded Catholics who supported his missionary zeal, Breen strove to protect innocent souls from the temptations beckoning from the motion picture screen.

There were few elements of cinematic production beyond Breen's reach& mdash;he oversaw the editing of A-list feature films, low-budget B movies, short subjects, previews of coming attractions, and even cartoons. Populated by a colorful cast of characters, including Catholic priests, Jewish moguls, visionary auteurs, hardnosed journalists, and bluenose agitators, Doherty's insightful, behind-the-scenes portrait brings a tumultuous era& mdash;and an individual both feared and admired& mdash;to vivid life.

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This book recounts the author's hilarious (and sometimes serious) experiences as network censor on "Saturday Night Live, " the most controversial program on television. Bill Murray, Billy Crystal, Mike Myers, even Eddie Murphy--he said "NO!!" to all of them..
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In The Censor, the Editor, and the Text, Amnon Raz-Krakotzkin examines the impact of Catholic censorship on the publication and dissemination of Hebrew literature in the early modern period. Hebrew literature made the transition to print in Italian print houses, most of which were owned by Christians. These became lively meeting places for Christian scholars, rabbis, and the many converts from Judaism who were employed as editors and censors.

Raz-Krakotzkin examines the principles and practices of ecclesiastical censorship that were established in the second half of the sixteenth century as a part of this process. The book examines the development of censorship as part of the institutionalization of new measures of control over literature in this period, suggesting that we view surveillance of Hebrew literature not only as a measure directed against the Jews but also as a part of the rise of Hebraist discourse and therefore as a means of integrating Jewish literature into the Christian canon.

On another level, The Censor, the Editor, and the Text explores the implications of censorship in relation to other agents that participated in the preparation of texts for publishing--authors, publishers, editors, and readers. The censorship imposed upon the Jews had a definite impact on Hebrew literature, but it hardly denied its reading, in fact confirming the right of the Jews to possess and use most of their literature.

By bringing together two apparently unrelated issues--the role of censorship in the creation of print culture and the place of Jewish culture in the context of Christian society--Raz-Krakotzkin advances a new outlook on both, allowing each to be examined through the conceptual framework usually reserved for the other.

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Lincoln's Censor examines the effect of government suppression on the Democratic press in Indiana during the spring of 1863. Indianas Democratic newspaper editors were subject to Milo S. Hascalls General Order No. 9, which proclaimed that all newspaper editors and public speakers that encouraged resistance to the draft or any other war measure would be treated as traitors. Brigadier General Hascall, commander of the District of Indiana, was amplifying General Order No. 38 of Major General Ambrose Everts Burnside, the commander of the Department of the Ohio. Burnsides order declared that criticism of the president and the war effort was tantamount to declaring sympathies with the enemy. Throughout the war in Indiana, Union soldiers and/or Republican activists intimidated other Democratic editors, ransacking their offices and sometimes running the out of business. President Abraham Lincoln, who suspended the writ of habeas corpus in 1862, claiming presidential prerogatives given by the Constitution at times of invasion or rebellion, had some political misgivings about the intimidation of Democratic newspapers, but let the practice continue in Indiana from April through June of 1863. Finally, at the request of Indiana Governor Oliver P. Morton, Lincolns War Department ordered Burnside to relieve Hascall of his command. \Bullas observation about the sustainability of the free press in times of war have implications in todays world..
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After the Supreme Court's rejection of legal movie censorship in the 1950's and the demise of the Hays Production Code in the 1960's, various public groups have emerged as media watch dogs, replacing nearly all other sources of control. Responding to explicit violence against women, negative stereotypes of gay and lesbian images, "racist" representations, and "blasphemous" interpretations of the Bible, groups from both Left and Right have staged protests in front of theaters and boycotted movie studios. "The New Censors" shows how groups on the Left empowered by social movements in the 1960's, and groups on the Right propelled by the successes of the New Christian Right and "The Moral Majority," have used similar strategies in attempting to control movie content. "The New Censors", the first study of the complex ways movies have been shaped in the years since the demise of the Code, covers a wide range of movies, protests, and government actions.From feminists against "Dressed to Kill," to religious campaigns against "The Last Temptation of Christ," to homosexuals' ire over "Basic Instinct," Lyons links a study of public outrage against movies to the broader culture wars over "family values," pornography, and various lifestyle issues. This book provides a contemporary history of controversial movies and a timely discussion of how cultural politics continues to affect the movie industry. Author note: Charles Lyons holds a Ph.D. in theatre and film from Columbia University. He is a development associate for Mud Pony Productions at The Walt Disney Company and a screenwriter. His editorials appear in the "Los Angeles Times" and "New York Newsday", and he recently contributed to an anthology entitled "Censorship and American Culture"..
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