Children, Cinema and Censorship: From Dracula to Dead End by Sarah Smith

By Sarah Smith

Utilizing unique examine, this publication explores the ordinary debates in Britain and the US approximately teenagers and the way they use and reply to the media, concentrating on a key instance: the talk surrounding teenagers and cinema within the Nineteen Thirties. It explores the makes an attempt to manage kid's viewing, the theories that supported those ways and the level to which they have been winning. the writer develops her demanding proposition that youngsters are brokers of their cinema viewing, now not sufferers; exhibiting how those angels with soiled faces colonized the cinema. She unearths their special cinema tradition and the ways that they subverted or circumvented legitimate censorship together with the Hays Code and the British Board of movie Censors, to manage their very own viewing of various movies, together with Frankenstein, King Kong and The Cat and the Canary.

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Extra info for Children, Cinema and Censorship: From Dracula to Dead End Kids

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The other major concern associated with early cinema related to the content of the pictures themselves. From the turn of the century, showmen attracted more and more custom by increasing the size of their screens, the number of their shows and the variety of their films. They were aided in this respect by the industry as it became more organised from the mid-1900s so that films could be rented rather than bought, thus facilitating far more performances to satisfy the apparently insatiable public demand.

Chapter 5 therefore explores the role of individual viewers in the regulation of their own viewing, exploring ways in which children (and their parents) were personally involved in the censorship of cinema during the 1930s. In particular, it examines the self-regulation practised by children regarding choice of films and the methods used by children to handle screen images they considered frightening or otherwise undesirable. It also explores the interactive relationships between the BBFC certification system, cinema management, parental authority and children’s own preferences, inasmuch as they all affected the autonomy children had in choosing the films they watched.

By the mid-1920s, the position of the BBFC was therefore firmly established. Although its guidelines were still advisory and not legally enforceable, O’Connor’s skill in public and political relations had gained the board far more support from the government, local authorities and the film trade. ’15 Children, Censorship and Certification Children and Cinema Regulation in Britain Issues relating to children were a central force in the early years of official cinema regulation in Britain and, of these issues, probably the two most significant were the perceived impact of films on juvenile delinquency and the need for age-restrictions on children’s cinema viewing.

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