published_or_final_version / abstract / Journalism and Media Studies Centre / Master / Master of Philosophy

No description available.

No description available.

No description available.

No description available.

Over the last two centuries, a succession of childhood pursuits has been blamed for deterioration in children's health, morality, education and literacy, as well as increases in juvenile delinquency, yet there has also been a constant voice in opposition to these charges. In Britain this debate reached something of a climax in the 1930s, due to the massive growth of cinema and its huge popularity with young people. This thesis aims to explore all aspects of the controversy surrounding children's cinemagoing in the thirties, with a particular focus on the mechanisms used to try and control or contain children's viewing, together with an assessment of the extent to which these mechanisms were successful. Its main arguments are that while concerns about child viewers motivated the development of film censorship practices in Britain and elsewhere, the debate is too complex and varied to be seen as a straightforward moral panic. In addition, it argues that, despite the attempts of the BBFC and others, children were essentially the regulators of their own viewing, as they frequently subverted or circumvented the largely ineffectual mechanisms of official cinema regulation. Moreover it suggests that, in a period when school, home and even leisure tended to be strong on discipline, the cinema was colonised by children as an alternative site of recreation. Matinees in particular were the birthplace of a new and somewhat subversive children's culture, which only started to be `tamed' with the introduction of more formal children's cinema clubs towards the end of the decade. Finally, the productive nature of the debate surrounding children, cinema and censorship is explored in a cases tudy of the 1930s MGM Tarzan films, which assesses the extent to which issues relating to the child audience may have helped to shape a genre.

During the period of military government in Argentina (1976 – 1983) a machinery of censorship was imposed. The state had a systematic plan of cultural repression and manipulation of public opinion. Even though there was not an official censorship office, the regime had an organised and sophisticated operating control over publication and public performance. However, the dissident writers and lyricists examined in this study developed strategies of resistance that depended largely on allegory and irony to convey subtle and oblique oppositional messages. By means of a detailed rhetorical analysis of a varied literary and popular corpus this study examines the functioning of allegory and irony under the constraints of censorship. The corpus includes the musical production of one of the most outstanding representatives of the rock nacional movement and four novels. The fictional narratives selected are divided into two symmetrical groups: in each group, one novel is written by a female writer and the other by a male author; one has reached a large readership and popularity while the other had a delayed reception but has won critical acclaim. / Far from repressing forms of expression, the regime’s censorship policies fueled creativity in authors and composers. Irony and allegory were adapted to new necessities. While the former was used as a means to avoid political commitment, a use identified in this study as evasive irony, the latter schooled the reader in alternative ways of thought at the same time as it allowed multiple interpretations. This thesis shows that irony and allegory, as literary figures, can evolve and assume new functions, adapting themselves to the different political circumstances in which they are used.

No description available.

No description available.

Thesis (M.A.)--Denver Seminary, 2000. / Includes bibliographical references (leaves 97-101).