Film Censorship Research Articles

The Lord Is Kind-Hearted And Cannot See The Poor: Social Reflections On The Film”Return To Dust”

Chinese cinema has always played an important role in spreading culture and transmitting values. As a kind of audio-visual media, it needs to be able to reflect social reality, moral concepts as well as cultural values in a profound way. However, in China, which has a strict film censorship system, the production and dissemination of films are strictly controlled and restricted by the government censorship system. There is a film Return to Dust, which created heat through many self-media, such as XiaoHongShu and DOUYIN, before its release, in which the previews showed real rural literary scenes that attracted wide attention. After its release, the social aspect of the film explored the deep-seated human emotions and regional issues, and a month later, the film was taken off the shelves, instantly triggering a wide-ranging discussion on censorship standards and artistic freedom [1]. Return to Dust, as a literary film, is sufficiently rich in cultural connotation and social significance for the audience. The film uses linear storytelling to show the current situation of the rural underclass in Northwest China during the four seasons of the year, the social ills and the complexity of human nature, which triggers the audience to think about "suffering". However, it is worth noting that although the film shows the "suffering", it also shows the warmth of the two underclass people, i.e. the goodness and beauty of human nature. However, such films with sensitive social issues are often restricted by the Chinese government's censorship. Exploring the reasons why Return to Dust has not been accepted by the modern Chinese government is not only a critical reflection on the censorship results of the film, but also a profound analysis of the censorship standards, value orientations, and the ideology of the censors behind the censorship system of Chinese cinema

Legal Limits on Creativity: Understanding Film Censorship in India

Legal Limits on Creativity: Understanding Film Censorship in India

Church, Tsar, Cinema. The religious censorship of films in Russia in pre-revolutionary period

The article is devoted to the topic of the relationship between orthodoxy church and cinema in Russia of the pre-revolutionary period. The author examines the main reasons of the hostility to films of the religious content on the side of priests, first of all Holy Synod is meant. A special attention in the text is paid a position of Russian Tzar. His hesitation and dualism of the personal attitude to the cinema was wrong for the deal of the improvement of mutual understanding between religious institutions and new art.

Cinema, censorship, and consumerism: mass culture and discursive transformations in film censorship in late 1970s South Korea

ABSTRACT The emergence of ‘erotic films’ (ero yeonghwa) in the 1980s has generally been discussed in the context of the Chun Doo-hwan regime’s ‘3S Policy,’ a series of policy changes that relaxed the stringent censorship regulations first implemented under Park Chung Hee’s military rule. Rather than a distinct rupture, this article argues that these changes were part of a larger shift in the perception of films that began in the late 1970s – a new conception of films as a commercial product. Whereas film audiences had long been dismissed as faceless masses with ‘vulgar’ tastes by both film personnel and government officials, the growing commercial power of films underscored the importance of the audience as consumers. Through a close reading of various newspapers and Performance Ethics (Gongyeon yulli), the official newsletter of the Public Performance Ethics Committee, this article traces the development of various discourses around film, the public audience, and mass culture. Ultimately, this article argues for a more nuanced approach towards examining censorship practices by looking beyond the state and its regulatory institutions and accounting for an array of continuously shifting discourses around medium-specific characteristics, structural changes in society and economics, and the general public.

Introduction: South Korea and the authoritarian modality of film censorship

ABSTRACT In this introductory article, I briefly examine South Korea's authoritarian approach to film censorship during the 1970s. Specifically, I focus on key institutional features such as the establishment of the Public Performance Ethics Committee, its organizational structure, and its new modus operandi. Additionally, the article will bring attention to the close interaction between the censor office and the film production companies, reflecting different types of discretion in the exercise by the censor agencies.

Christian martyrdom and Yusin censorship's conundrum: the 1977 screening suspension of Toward the High Place (1977–1981)

ABSTRACT This article focuses on the unconventional censorship case of Toward the High Place (1977), a religious film that dramatized the life of Reverend Ju Gi-cheol. Despite passing censorship with ease, even selected as a ‘superior film’ by the state, Toward the High Place's screening was delayed multiple times and ultimately prohibited, only to be shown after the collapse of Park Chung Hee regime. Given the Protestant Church's crucial role in the state's diplomatic relations with the United States, the decision to prohibit the film's screening was highly unusual. Through a close reading of the film's censorship file and other archival documents, I reconstruct the various censorship processes that came to constitute the film's visual grammar. As an instance of unofficial censorship, I argue that Toward the High Place demonstrates how censorship practices, socio-political conditions, and the changing status of organized religion influenced cinematic representation, while also revealing the limits of official censorship procedures.

Between scandal and suture: the 1975 corruption scandal in the Ministry of Culture and Public Information's Film Division

ABSTRACT Focusing on the mid-1970s, often considered the height of repression during Park Chung Hee's rule, this article examines the dynamic interplay between the South Korean film industry and state administration of film censorship. Specifically, I examine the 1975 corruption scandal that took place in the Ministry of Culture and Public Information's Film Division, in which several filmmakers had offered cash bribes to public officials in exchange for leniency in various aspects of film regulation. More than a case of misconduct limited to the film industry, the incident was quickly sensationalized as evidence of widespread societal corruption and illegal practices that threatened to harm the public. In turn, the state capitalized on the case's notoriety to justify the various measures it took in the name of ‘purifying’ society. Using ‘scandal’ as a pretext, the state commenced the structural reorganization of the film industry and film policies to more closely align with its goals. Ultimately, I argue that this corruption scandal allows us to understand censorship practices as the result of complex, multi-layered relations between film administrative policies and the film industry.

Shaheed-e-Azam Bhagat Singh (1954): A Curious Case of the First Biopic on the Indian Revolutionary Martyr

Immediately after India’s independence, the Indian revolutionary martyr Bhagat Singh became the focus of several competing biopic projects. A censorship controversy erupted around the making of the now-lost film Shaheed-e-Azam Bhagat Singh (1954), the first biopic on the martyr. It became a contentious site where the interests of the filmmakers, former revolutionary colleagues of Bhagat Singh and his family members, and various other stakeholders like public representatives, intersected with an almost disinterested state. Following Debashree Mukherjee’s (2019) methodological approach of considering film censorship ‘as a productive material site for the study of lost films’, this article enters into a microhistory of this controversy by utilising bureaucratic paperwork and filmic and nonfilmic paratextual material to compensate for the absent film element. By tracing the very first attempts which were made to mount a biopic on Bhagat Singh, I try to investigate personal and political motivations behind the race to make the first biopic on the revolutionary martyr. For this purpose, I employ Chris Moffat’s (2019) mobilisation of the metaphors of corpse, corpus and corps, which he productively uses to understand the politics behind the multifarious afterlives of Bhagat Singh and wrangle over his revolutionary inheritance in the post-colonial period, and make a case for the importance of the study of Bhagat Singh’s hitherto neglected biopics by arguing that the time of their making, their production contexts and attendant controversies afford us unique insights into what Moffat terms the politics of ‘India’s revolutionary inheritance’.

Censorship of Family Violence in Cinema in Iran

Prevention and control of family violence require an accurate understanding of its causes and effects. Iranian filmmakers try to fulfil their mission to raise awareness about family violence by showing hidden and unpleasant social issues in the family and presenting an accurate picture of family violence. However, to do so is taboo and goes against the Islamization policy of the Iranian regime against portraying family violence. Breaking the taboo leads to the seizure and censorship of films that show negative perspectives of family relationships. This article analyzes the Iranian regime’s approach to film productions based on Islamization policies and investigates the films that have been censored and seized. An interpretive analysis takes a critical look at Iran’s politicized cinema with a focus on paternalism. The article looks at the banned films Friday Evening, The Paternal House, and Girl’s House. The filmmakers’ goal is to remove the barriers to raising awareness in the area of victimization of girls. The depoliticization of Iranian cinema will support the process of breaking cultural taboos and thus support women’s protection from family violence.

The Impact of Online Streaming Platforms on the Film Industry and Film-Viewing Culture in Malaysia

Technology changes the look of the film industry, particularly regarding marketability through online streaming platforms. Online streaming provides a second option for viewers, which has altered Malaysia’s film-viewing culture. This difference is significant between watching movies on TV screens and in cinemas, regulated and filtered by the Film Censorship Board (Lembaga Penapisan Filem, LPF), compared to streaming online via platforms not bound by LPF regulations. Through qualitative and library research methods, this study examined the development and changes in film-viewing culture in Malaysia and the relevant acts. The Culture of the Streaming Model was used as a guide to explore the development and changes in film-viewing culture in the Malaysian film industry. In conclusion, the changes brought about by the advances in technology have significant implications for the film industry, particularly ensuring that inappropriate content does not reach young people.

Socio-Legal Analysis of Age Restrictions in Cinema: A Hermeneutic Interpretation of Law Number 33/2009

This research discusses how Law No. 33 of 2009, especially article 7, which discusses the age classification or age of the audience by Film Show Companies (cinemas), where films with various themes and ratings are screened, a deep understanding of how cinemas maintain age classification so as not to be exposed to content that is not suitable for the age of the audience. The purpose of this research is to see how the role and responsibility of movie theaters in implementing Law No. 33 of 2009, especially article 7 and maintaining security, understanding related to the law. Because with the right understanding, it will affect the application of theaters to ensure that they operate in accordance with existing regulations. The research method uses Hermeneutic analysis, in hermeneutics there are three components, namely understanding, interpretation and application, which is related to the cinemas that have understood, interpreted and applied the age classification of the audience by the Film Show Company (cinema). The results showed that in its application, the movie theater has tried to apply the law in accordance with applicable regulations, but there are still many obstacles, especially from people who are less concerned about the shows they watch in terms of age classification. Theaters have tried to apply the law, but theaters are unable to control the application of the law to be applied. According to film observers, the law has been implemented by theaters, but the age category information displayed on plasma TVs is so small that not all viewers pay attention to the information. The Film Censorship Board does not specifically have the right to revise this law, from LSF's perspective, this is sufficient because everything has been regulated in detail. The public is encouraged to be more aware of Law No. 33 Year 2009, especially Article 7 which regulates the age classification of the audience.

Cultural distance perceived by Chinese audiences in the Korean film Silenced: a study of cross-cultural receptions in film content elements

IntroductionIn the realm of cross-cultural film dissemination, cultural distance emerges as a pivotal factor influencing the reception of domestic audiences to foreign cinematic productions. Despite Korea's thriving film industry and China's vast film market, the cultural distance experienced by Korean films in China remains largely unexplored. This study focuses on the Korean film Silenced, renowned as a classic that champions justice in Korea.MethodBy employing qualitative survey and thematic analysis, this study investigates the cultural distance perceived by forty-four Chinese audiences when watching Silenced.ResultsThe findings revealed that various content elements, such as the film's setting, translation of verbal expression, non-verbal expression of film characters, and visuals/non-diegetic music did not exhibit cultural distance among Chinese audiences. Nevertheless, the plots of morally compromised characters with positive identities, theme exploration of societal darkness and human darkness, and tragic ending introduced a palpable sense of cultural distance perceived by Chinese audiences.DiscussionThis study scrutinizes the outcomes through the lenses of Korean film and Chinese audiences. While certain aspects of Korean cinema and Chinese audience preferences exhibit cultural proximity, mitigating barriers to appreciation in select content domains, Silenced adeptly employs the plots, themes, and ending to delve into the darkness of human nature and societal dynamics. However, under the influence of China's official propaganda and film censorship, Chinese participants evinced a constrained appreciation for cinematic portrayals of human and societal darkness. Concurrently, Chinese participants manifested expectations for films to provide a source of relaxation, a notion incongruent with the oppressive ambiance evoked by Silenced.

Treading on the Tiger’s Tail: Chinese Wuxia and Japanese Jidaigeki Action Films Reacting to State Censorship in the 1930s and 1940s

This article highlights the relationship between wuxia (martial heroes) and jidaigeki (period drama) action films and state censorship in the 1930s and 1940s. I first introduce readers to key East-Asian literary conventions that portray righteous warriors who incarnate their moral codes with swords. I then illustrate the political contexts in 1930s China and 1940s Japan which caused the popular film genres of wuxia and jidaigeki to become politically problematic and therefore strictly censored. I closely examine director Bu Wancang’s 1931 wuxia film A Spray of Plum Blossoms and Kurosawa Akira’s jidaigeki 1945 film Treading on the Tiger’s Tail, investigating creative solutions each director found in order to release their respective films despite censorship pressures. There are three inventions both directors pioneered in their work, namely “ostensible exactness” in setting; “patriotic warriors” in characterization; and “swordless fights” in presenting spectacular action scenes. I argue that although these solutions failed to restore both genres back to their former popularity, Kurosawa’s film paved the way for the success of his world-class jidaigeki in the 1950s, and Bu’s wuxia led to the emergence of kung fu films in the 1960s. My critical analysis underscores the innovative creativity of Chinese wuxia and Japanese jidaigeki films while calling attention to the artistic and cultural legacies of these two popular cinematic genres. The comparison demonstrates how film censorship may undermine or even destroy traditions that have a long history and deep cultural roots.

Historical Perceptions about Children and Film: Case Studies of the British Board of Film Censors, the British Film Institute, and the Children’s Film Foundation from the 1910s to the 1950s

Abstract This article explores how ideas regarding children and film were shaped and shifted from the 1910s to the 1950s by consulting three critical moments and key institutions: the British Board of Film Censors in the 1910s, the British Film Institute in the 1930s, and the Children’s Film Foundation in the 1950s. By doing so, the article elucidates how discourse and ideas about children’s films and audiences have transformed, resulting in policy shifts from restrictive to encouraging approaches that appreciate children’s tastes and the entertainment value of children’s cinema. Based on comparative historical research, this article empirically reveals that perceptions of children’s cinema have changed throughout history and that the policy documents offer significant materials to explain this.

Leadership Communication Approach of the Indonesia Film Censorship Institute to Stimulate a Collaborative Climate

The incumbent the Film Censorship Institute (LSF) chairman faces a series of challenges inherited from predecessors, necessitating strategic changes to transform LSF into a significant institution characterized by a collective and collegial culture. Consequently, this research seeks to analyze chairman's communication approach and its impact on fostering a collaborative climate. Employing a qualitative research approach, the study utilizes the case study method. Data were gathered through Focus Group Discussions (FGD) and document analysis. Three resource persons participated in the FGD. The findings indicate that the leadership communication approach of the LSF chairman is participatory-democratic. The author contends that leaders play a crucial role in shaping and embodying organizational culture, emphasizing the establishment of a collective and collegial ethos. Leadership communication serves as a catalyst in instilling this culture, encompassing language, behavior, attitude, and character. These elements collectively contribute to fostering a climate of collaboration, as evidenced by programs and policies grounded in collaborative principles.

Arabic Audio-Visual Translation Censorship: A Corpus Study of Subtitles of Three Films

Audio-visual translation is one of the most dynamic types of translation. As this form of translation deals with culture as well as language media is often altered to remove sensitive elements. This is common in the Arab world where censor boards filter media before its rerelease. The strategies employed in censorship have been influenced by advancements in technology and mass media narratives. This paper therefore examines the subtitling strategies employed in film censorship by examining three American films, namely, The Hangover, Bridesmaids, and What Women Want. The research adopts Pederson’s taxonomy (2017) as a theoretical framework in addition to the three strategies proposed in this study ‘tone down,’ ‘upgrading,’ and ‘normalizing’. The results indicated that censorship is common in the Arab world in the forms of omission and euphemism. Moreover, it was found that subtitles employ high register language when rendering the low register language of the source text despite the availability of low register language choices. The study recommends that dialectical and non-standard Arabic be used for the rendering of sensitive elements. Future studies may build on these findings to improve the understanding of censorship trends and unconventional movements.

‘Lewd, pornographic filth’: Managing Culture through Local Film Censorship in Britain, 1948–1968

Film censorship in the UK is predicated on a two-tier system whereby the British Board of Film Classification (formerly British Board of Film Censorship Censorship) (BBFC) recommends a classification for a film and this classification is then implemented by local authorities. In cases where local authorities disagree with a BBFC decision they can change the classification or ban the film entirely. Conversely, they can also screen a film which has no BBFC certificate. This local decision-making is permitted under the powers granted to local authorities to oversee cinema exhibition and licensing. Using The Snake Pit, Rock around the Clock and Ulysses, and offering a broad historical and geographic sweep, this article explores local council archives and local press reporting to map local censorship across the UK, drawing attention to inconsistencies in different areas and how councils justified the decisions they took on specific films.

הצנזורה על סרטי קולנוע ערביים במדינת ישראל, 1967-1948

This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their content. The censorship's dual purpose was to prevent Arab films from awakening the national and political consciousness of the Arabs living in Israel, and to distance Jewish immigrants from their Arab culture, in order to promote their assimilation into hegemonic Israeli culture. However, the censorship's attempts at political control over Arabs and cultural control over Jews was doomed to failure due to the emergence of a new means of communication and entertainment in the Middle East – television. This ended the cinema theaters' monopoly over the consumption of Arab films, and thus the Film and Theater Censorship Board's ability to censor them.

Via a Private Link: Film Censorship and Underground Streaming in China

Este ensayo examina la interacción entre la ley, la tecnología y la cultura en la distribución y el consumo de películas censuradas en China. Comienza analizando las leyes y regulaciones relevantes en la industria y explorando las diversas formas en que el cine clandestino evade las restricciones gubernamentales. Destaca el uso de nuevas tecnologías y medios alternativos por parte de cineastas independientes como estrategia para publicar sus obras censuradas. Durante la pandemia, el director Jiang Nengjie difundió su documental Miners, Groom, and Pneumoconiosis (2019) a través de enlaces privados en servicios de almacenamiento en la nube, lo que generó una gran repercusión en la red y le valió el apodo de “director de la nube”. La transmisión a través de aplicaciones de videoconferencia también ha creado nuevas oportunidades para que las películas independientes prosperen en China. El surgimiento del cine clandestino en la red ha creado un movimiento social en curso, brindando a las películas independientes la oportunidad de prosperar fuera de los medios tradicionales.

The Influence of Commitment, Quality of Work, and Organizational Culture to Employee’s Achievement

ABSTRACT
 This research was conducted with the aim to study and analyze the Commitment, Quality of Work, and Organizational Culture of Employee Job Performance at the Secretariat of the Film Censorship Institution of the Ministry of Education and Culture. The population in this study were all employees of the Film Censorship Institution Secretariat and the sample used was 121 saturated newspaper reports. In conducting this research, the authors used a quantitative method using Structural Equation Modeling (SEM) with the help of Lisrel 8.8 software. and Annova. There is a significant difference and there is a positive difference between the variable Work Quality with Work Performance (t value> 1.96) and there is a significant difference but there is no difference between Organizational Culture and Work Performance variables (t value <1.96).