"This is an excellent book with a wide-ranging group of essays covering film censorship on a global scale . . . Compelling, revealing, and passionate, this is a book that demands attention. Summing Up: Highly recommended. Lower-level undergraduates and above." - CHOICE (W. W. Dixon, University of Nebraska-Lincoln, USA)
'By shedding light on the different nuances and complexities of film censorship around the world, this collection contributes new insights to the field of cinema studies . . . This is a scholarly but accessible book, likely to attract academics who work on cinema, censorship and transnational culture(s) more generally, but also recommended to undergraduates and other readers interested in the topic.' - The Kelvingrove Review
"A dizzying display of film scholarship, this volume brings together scholars from around the world to discuss global evolution of the censorship of film production and exhibition. More than simply 'rounding up the usual suspects' to discuss 1930s America, Britain, Soviet Russia and Nazi Germany, this book strides boldly into lesser known territory, documenting the censors at work in Mexico, Nigeria, India, China, Ireland, Belgium, and a host of other countries with instructive experiences of their own. The result goes beyond its function as a fascinating slice of comparative movie history, this is a unique and important window on the political and social history of the twentieth century, illuminating all the great issues of the time." - Nicholas J. Cull, Professor, Center on Public Diplomacy at the Annenberg School, University of Southern California, USA and Author of Projecting Empire: Imperialism in Popular Cinema (with James Chapman, 2009) and Projecting Tomorrow: Science Fiction in Popular Cinema (2013)
"Turnabout being fair play, Daniel Biltereyst and Roel Vande Winkel have assembled an A-list line-up of film scholars to cast a critical eye on the clerics, bluenoses, reformers, bureaucrats, hacks, apparatchiks, and sundry buttinskies from around the world who have sought to snip, slice, shred, and otherwise suppress motion picture art. Taking a global outlook and an open-minded approach (sometimes the hands wielding the scissors are well meaning, sometimes sinister), the sixteen essays herein each tell a fascinating tale of cinematic regulation and resistance." - Thomas Doherty, Chair, American Studies, Brandeis University, USA and Author of Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934 (1999) and Hollywood's Censor: Joseph I. Breen and the Production Code Administration (2007)
About the Author
Daniel Biltereyst is Professor in Film and Cultural Media Studies at the Department of Communication Studies, Ghent University, Belgium. Besides his many articles in journals and books, he is the editor of Explorations in New Cinema History: Approaches and Case Studies (2011) and Cinema, Audiences and Modernity: New Perspectives on European Cinema History (2012), both with Richard Maltby and Philippe Meers.
Roel Vande Winkel is Associate Professor at the University of Antwerp and at LUCA, College Sint-Lukas Brussels, Belgium. He is Associate Editor of the Historical Journal of Film, Radio and Television. He has published articles in many journals and books and is the editor of the award-winning volume Cinema and the Swastika (with David Welch, 2007/2011) and Perspectives on European Film and History (with Leen Engelen, 2007).