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Liberty and press control in the 1640s
Randy Robertson

Robertson: Debating censorship 7 Debating censorship: liberty and press control in the 1640s Randy Robertson For many years now, historians have engaged in fierce debates over the extent and efficacy of censorship during the 1640s. Such debates have a distinguished history, as scholars over the last century have taken up various, sometimes widely divergent positions on the topic of censorship in Civil-War England. Some of the older monographs still have value. William Clyde’s early-twentieth-century account of the Civil War and Interregnum press, for example

in Texts and readers in the Age of Marvell
Tuairim and cultural conservatism
Tomás Finn

5 Sense and censorship: Tuairim and cultural conservatism Tuairim, intellectual debate and policy formulation Sense and censorship The extreme form of censorship was anathema to Tuairim and its aim of creating a more open society. in attempting to influence public opinion and public policy in favour of changes to the system of censorship, Tuairim invited several individuals, most notably fr. peter connolly, to speak to the society. connolly, through his speeches and articles, advocated a more sophisticated understanding of literature and film and a relaxation

in Tuairim, intellectual debate and policy formulation
Negotiating acceptable politics in the Dutch fanzine Raket
Kirsty Lohman

16 Punks against censorship: negotiating acceptable politics in the Dutch fanzine Raket Kirsty Lohman Punk took root in The Netherlands in 1977, with scores of new bands forming through 1978–80.1 As elsewhere, punk’s mix of spectacular imagery, nihilism and/or radical politics, shock value and a do-it-yourself approach appealed to young people. Also in the late 1970s, the port city of Rotterdam was undergoing a process of deindustrialisation and automation. It was still being rebuilt, both literally and figuratively, following near-annihilation during the Second

in Ripped, torn and cut
Mark O’Brien

  133 8 The Troubles and censorship Unlike our colleagues in Belfast, we, in the north-​west, thankfully did not have to report the obscenity of Catholics and Protestants shooting it out on city streets, but still we got our share of the riots and all that followed in their wake.1 — Martin Crowley, Derry NUJ branch, 1971 While one might not expect Northern Ireland to have featured on the southern media agenda prior to the outbreak of the Troubles in the late 1960s, for much of the previous decades the North had featured occasionally in the print media. During

in The Fourth Estate
Dave Rolinson

Realism and censorship in the 1970s 2 In the previous chapter I sought elements of personal style exercised by a director working within collaborative institutional processes, reading his signatures within pieces whose writers had a predominant authorial investment or whose conditions of production restricted the critical construction of the director as unifying figure. To continue Clarke’s analogy between single drama and classic Hollywood, this put me in a similar position to early auteur critics as they compared directors working within the studio system

in Alan Clarke
National newspaper representations of the British broadcasting ban (1988–94)
Max Pettigrew

16 The ‘oxygen of publicity’ and the suffocation of censorship: national newspaper representations of the British broadcasting ban (1988–94) Max Pettigrew The Northern Ireland conflict was conducted through a combination of war, words and silence.1 Besides the obvious physical aspect of the conflict, discursive and censorship battles were inseparable aspects too. This chapter examines a crucial period in which the conflict shifted into the peace process. It was also a period that saw direct censorship over the British broadcast media. Whereas indirect censorship

in The Northern Ireland Troubles in Britain
Simon Wortham

180 Francis Bacon’s New Atlantis 9 Censorship and the institution of knowledge in Bacon’s New Atlantis SIMON WORTHAM I Critical readers of Bacon’s New Atlantis have often drawn attention to the complex relationship between, on the one hand, the production and dissemination of enlightened scientific knowledge in Bensalem – and, indeed, the forms of social community for which it implicitly provides a model – and, on the other, the secret or concealed conditions of this very same process of production. For example, Robert K. Faulkner in Francis Bacon and the

in Francis Bacon’s New Atlantis
Reva Wolf

’s concerns over the challenging content of Goya’s imagery, and, on the other, that ‘questions present themselves that mitigate against official censorship’, such as Goya’s 1799 promotion in his position as painter to the king and the fact that the Caprichos were put on sale by the Royal Chalcography in 1816. 3 However, those two events could well be entirely unrelated to whether the prints were censored

in Changing satire
Sylvie Magerstädt

Costumes and censorship: the BBC’s Roman Empire (1970s) Part III As we have seen in Part II, from the 1950s onwards cinema had come under increasing pressure from television. Epics set in the ancient world were seen as a tool to counter this trend, with their spectacular sets, crowds and colours. Yet, by the mid-1960s, cine-antiquity had also reached a crisis point. Excessive and costly productions like Cleopatra (1963) and the dramatic failure of The Fall of the Roman Empire (1964) led to the temporary disappearance of the genre from the large screen. Maybe

in TV antiquity
E. J. Devereux
Bulletin of the John Rylands Library