Television Censorship

2019 ◽  
pp. 273-280
Author(s):  
John Billheimer
Keyword(s):  
Good Practice ◽  
Federal Communication Commission ◽  
Rating System ◽  
Red Scare ◽  
Television Programs ◽  
Pressure Groups ◽  
Television Content ◽  
Production Code ◽  
History Of ◽  
The 1950S

This chapter addresses the censorship issues faced by Hitchcock while producing his television series, Alfred Hitchcock Presents. It traces the history of broadcast censorship from the introduction of the Federal Communication Commission in 1934 through the development of the National Association of Broadcasters’ Code of Practices in 1951. The Code resembled the Motion Picture Production Code and was accompanied by a Seal of Good Practice, which was displayed on the closing credits of most US television programs from 1952 through the early 1980s. In practice, the sponsors of television programs had more control over programming conduct than the NAB Code. Because TV sponsors were attuned to any negative reaction, and television reached a much wider audience than movies, television content in the 1950s and 1960s was much more susceptible to protests from pressure groups than the movies. Television producers faced more censors than movie producers and were even more timid about confronting them. The Red Scare of the 1950s produced blacklists of television performers that ruined as many lives as the movie blacklists did. The NAB Code became hopelessly outdated and was suspended in 1983, supplanted by a rating system similar to that developed by the MPAA in 1996.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

Nashville Cats

2020 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
Music History ◽  
Country Music ◽  
Primary Sources ◽  
Recording Industry ◽  
Global View ◽  
Production And Distribution ◽  
History Of ◽  
The 1950S ◽  
Hall Of Fame ◽  
The City

Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.

Australia

2018 ◽  
Author(s):  
Katherine Bode
Keyword(s):  
Multinational Corporations ◽  
Publishing Industry ◽  
Book Publishing ◽  
Social Changes ◽  
History Of ◽  
The 1950S ◽  
Australian Literature

This chapter on the history of book publishing in Australia divides Australian novel publishing since 1950 into three periods: the 1950s and 1960s, the 1970s and 1980s, and the 1990s to the present. During the 1950s and 1960s, British companies dominated the publication of Australian novels and publishing decisions were predominantly made overseas, but the period also witnessed a ‘local publishing boom’, driven by the belief in the importance of Australian literature and publishing. The 1970s and 1980s saw the growth of a vibrant local publishing industry, supported by cultural nationalist policies and broad social changes. At the same time, the significant economic and logistical challenges of local publishing led to closures and mergers, and — along with the increasing globalization of publishing — enabled the entry of large, multinational corporations into the market. This latter trend, and the processes of globalization and deregulation, continued in the 1990s and beyond.

Coda

2020 ◽  
pp. 734-743
Author(s):  
Laura U. Marks
Keyword(s):  
Twentieth Century ◽  
Religious Fundamentalism ◽  
Labor Movements ◽  
Grassroots Politics ◽  
International Solidarity ◽  
Guerrilla Movements ◽  
History Of ◽  
Armed Resistance ◽  
The 1950S ◽  
Arabic Speaking

In the twentieth-century Arabic-speaking world, communism animated anticolonial revolutions, workers’ organizations, guerrilla movements, and international solidarity. The communist dream was cut short by Arab governments, deals with global superpowers, the rise of religious fundamentalism, and historical bad luck. But recently a remarkable number of Arab filmmakers have turned their attention to the history of the radical Left. Filmmakers from Iraq, Syria, Lebanon, Palestine, Egypt, Algeria, Tunisia, and Morocco have been urgently seeking models for grassroots politics in the labor movements, communist parties, and secular armed resistance of earlier generations. This coda explores two strata of communist audiovisual praxis: the radical cinema that supported labor movements and guerrilla actions from the 1950s to the 1980s, and recent films that draw on that earlier movement. The coda argues that the Arab audiovisual archive holds flashes of communism that have been neither fulfilled nor entirely extinguished. The new films release their unspent energy into the present, diagnosing earlier failures of Arab communism and making plans for new forms of solidarity.

The Demise of Non-Communist Parties in North Korea (1945–1960)

2001 ◽  
Vol 3 (1) ◽  
pp. 103-125 ◽  
Author(s):  
Andrei N. Lankov
Keyword(s):  
South Korea ◽  
Eastern Europe ◽  
Communist Party ◽  
North Korea ◽  
History Of ◽  
United Front ◽  
The 1950S

This article, based on newly declassified material from the Russian archives, deals with the fate of non-Communist parties in North Korea in the 1950s. Like the “people's democracies” in Eastern Europe, North Korea had (and still technically has) a few non-Communist parties. The ruling Communist party included these parties within the framework of a “united front,” designed to project the facade of a multiparty state, to control domestic dissent, and to establish links with parties in South Korea. The article traces the history of these parties under Soviet and local Communist control from the mid-1940s to their gradual evisceration in the 1950s.

From Economic Miracle to Standort Deutschland: Exchanging Economic Metaphors in the Federal Republic of Germany

2000 ◽  
Vol 18 (2) ◽  
pp. 30-65
Author(s):  
Ben Lieberman
Keyword(s):  
Federal Republic ◽  
German Economy ◽  
Economic Recovery ◽  
Federal Republic Of Germany ◽  
Economic Miracle ◽  
Economic Achievement ◽  
The World ◽  
German Model ◽  
History Of ◽  
The 1950S

The history of the Federal Republic of Germany is closely connected with economic achievement. Enjoying a striking economic recovery in the 1950s, the FRG became the home of the “economic miracle.” Maturing into one of the most powerful economies in the world, it became known as the “German model” by the 1970s. Now, however, the chief metaphor for the German economy is “Standort Deutschland,” and therein lies the tale of the new German problem.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

Piekrastes pārvaldība Latvijā: pārvaldības ietvara attīstības pārskats

2021 ◽  
pp. 222-237
Author(s):  
Maija Štokmane ◽  
◽  
Raimonds Ernšteins ◽  
Keyword(s):  
Coastal Zone ◽  
Good Governance ◽  
Local Level ◽  
Good Practice ◽  
Integrated Approach ◽  
Horizontal Integration ◽  
Holistic View ◽  
Main Research ◽  
Coastal Governance ◽  
History Of

The coastal territory is a complex socio-ecological system (SES), which needs to be governed using an integrated approach. Integrated coastal management (ICM) is considered as the main approach in coastal governance, offering a holistic view of the coastal zone by integrating different governance sectors and governance levels, but ICM is not a fixed approach and should be adopted to meet each particular unique national and local situation. Full scale ICM in Latvia is not applied, but the following problems are recognized as most significant in the coastal territory: the lack of qualitative infrastructure and the lack of good governance; the local level coastal SES is studied, monitored and evaluated insufficiently as well as good practice examples are not communicated enough. In the current study, the exploration of the legisla-tive regulations and planning documents was conducted, therefore, the main research methods are docu-ment studies and expert interviews. Both the vertical and horizontal integration were assessed for the coastal governance, as well as overview of ICM developments in the modern history of Latvia. In order to understand the situation of the coastal governance in Latvia, the scheme of coastal dune protection zone was prepared, based on Latvian coastal legislation, however it is often difficult to depict different protec-tion zones in practice in such a dynamic and changing territory as a coastal zone.

BIALL Code of Good Practice for Law Publishers

2006 ◽  
Vol 6 (2) ◽  
pp. 109-112
Author(s):  
James Mullan
Keyword(s):  
Good Practice ◽  
Legal Information ◽  
Information Group ◽  
History Of

The BIALL Code of Good Practice for Law Publishers was launched at the 2005 BIALL Conference. Support for the Code of Good Practice is growing and demonstrates a commitment by legal publishers to respond to the rapidly changing publishing environment. James Mullan Chair of the BIALL Legal Information Group (LIG) provides a history of the Code to date.

The River of Salvation Flows Through Africa: Edward Wilmot Blyden, Raphael Armattoe, and the Redemption of the Culture Concept

2018 ◽  
Author(s):  
Sean Hanretta
Keyword(s):  
Nineteenth Century ◽  
West Africa ◽  
Social Group ◽  
The Political ◽  
Nobel Peace Prize ◽  
Production Of Knowledge ◽  
Pan Africanism ◽  
History Of ◽  
The 1950S ◽  
Culture Concept

The concept of culture, in the Boasian sense of the learned, variable, and mutable “structures” underlying “the behavior of the individuals composing a social group collectively and individually,” has played an important role in the production of knowledge about many human societies. This chapter examines two moments in the history of the culture concept as applied to West Africa. First, a moment during the process of the concept's formation in the mid-nineteenth century; second, a moment in the 1950s that revealed the political limits of appeals to culture. Juxtaposing the lives of Edward Wilmot Blyden, the father of Pan-Africanism, and the Ghanaian doctor and poet Raphael Armattoe, one of the first Africans nominated for the Nobel Peace Prize, the chapter illuminates the diverse networks and shifting political valences that shaped the rise, redemption, and circumscription of the culture concept in Africa from colonialism to neoliberalism.

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