The United States film industry is controlled by the Motion Picture Association of America (MPAA) and its six signatories--the major productions studios (Sony, Warner Brothers, Universal, Walt Disney, 20th Century Fox, Time Warner), and through this joint-partnership they have monopolized prime production, distribution, exhibition and classification of the U.S film market. The objective of this project is to shed light on biases present in the MPAA rating system's treatment of sex and violence under the X/NC-17 rating in order to demonstrate the lack of viability of the system in today's world.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1989.

O objetivo geral da pesquisa é estudar os critérios utilizados pelas empresas para a escolha dos projetos de artes cênicas patrocinados via isenção fiscal da Lei Rouanet. O objetivo específico é mostrar como os parâmetros de visibilidade midiática, relação custo-benefício, endomarketing, marketing de relacionamento e de negócios e oportunidades de comunicação com públicos de interesse (funcionários, clientes, consumidores, comunidade de entorno) valorizam atores e diretores consagrados pela mídia em detrimento de autores e diretores e atores desconhecidos da mídia, o que dificulta o acesso das produções teatrais experimentais e de pesquisa aos recursos de renúncia fiscal da Lei Rouanet. A Lei Rouanet foi instituída em um contexto neoliberal do Brasil no qual o Estado transferiu à iniciativa privada a viabilização da produção artística que passa a ser avaliada segundo sua potencialidade de se transformar em mercadoria e conquistar novos consumidores com o objetivo de gerar lucro para as empresas. Entrevistamos representantes de empresas privadas e públicas, diretores de projetos patrocinados e inviabilizados por meio da Lei Rouanet e fizemos um levantamento das peças de teatro patrocinadas no ano de 2011 por meio da renúncia fiscal e concluímos que existe uma concentração de recursos de isenção fiscal em produções da Broadway e em atores e diretores consagrados pela mídia em detrimento de autores e diretores e atores desconhecidos da imprensa. Dessa forma, as grandes empresas beneficiam espetáculos que dão retorno financeiro e de marketing institucional, a cultura do entretenimento que busca divertir e agradar ao \"grande público\". Pesquisa do Ministério da Cultura afirmou que existe uma concentração de 50% dos recursos em apenas 3% dos proponentes. Dessa forma, identificamos o conceito de censura de mercado que age em duas vertentes processuais de censura: na primeira, a restrição à produção artística com assuntos polêmicos impede que significados, valores e sentimentos divergentes da convenção social sejam levados ao público, na segunda, exclui as produções teatrais experimentais e de pesquisa do acesso aos recursos públicos da Lei Rouanet, pois essas expressões artísticas possuem imprevisibilidade de bilheteria, de crítica, público e rendimento. / The overall objective of the research is to study the criteria used by companies to the choice of performing arts projects sponsored via tax exemption of Rouanet Law. The specific objective is to show how the media visibility of parameters, cost-effective, internal marketing, relationship marketing and business opportunities and communication with stakeholders (employees, customers, consumers, surrounding community) value embodied by actors and directors media at the expense of authors and directors and media unknowns, which hinders the access of experimental theater productions and research to fiscal waiver resources Rouanet Law. The Rouanet Law was instituted in a neoliberal context of Brazil in which the State transferred to the private sector the viability of artistic production which happens to be evaluated according to their potential to transform into merchandise and win new customers in order to generate profit for companies. We interviewed representatives of private and public companies, sponsored project managers and made impossible through the Rouanet Law and made a survey of theater plays sponsored in 2011 through tax breaks and concluded that there is a concentration of tax exemption resources in production Broadway actors and directors and consecrated by the media to the detriment of authors and directors and unknown actors of the press. Thus, large companies benefit performances that give financial and institutional marketing return, the entertainment culture that seeks to entertain and please the \"general public\". Research the Ministry of Culture affirmed that there is a concentration of 50% of the resources in only 3% of the proposers. Thus, we identified the concept of market censorship acting on two procedural aspects of censorship: first, the restriction of artistic production with controversial issues prevents meanings, values and divergent feelings of social convention are brought to the public. In the second excludes experimental theater productions and research theater access to public resources of the Rouanet Law, for these artistic expressions have unpredictable box office, critical, audience and revenue.

羅國森. / 本論文於1997年12月31日呈交. / 論文(哲學碩士)--香港中文大學, 1998. / 參考文獻: leaves 64-69. / 中英文摘要. / Luo Guosen. / Chapter 1. --- 研究問題 --- p.5 / Chapter 2. --- 文獻回顧 --- p.8 / Chapter 3. --- 理論框架 --- p.14 / Chapter 3.1 --- 新聞審查與自我審查的形成 --- p.16 / Chapter 3.2 --- 新聞審查與自我審查的關係 --- p.17 / Chapter 4. --- 研究方法 --- p.20 / Chapter 4.1 --- 從旁觀察 --- p.20 / Chapter 4.2 --- 文獻分析 --- p.21 / Chapter 4.3 --- 深度訪問 --- p.21 / Chapter 5. --- 研究結果 --- p.23 / Chapter 5.1 --- 新聞審查與自我審查的現況 --- p.24 / Chapter 5.2 --- 新聞審查與自我審查的分佈 --- p.28 / Chapter 5.3 --- 新聞審查與自我審查的表現形式 --- p.33 / Chapter 5.4 --- 新聞審查與自我審查的催化劑 --- p.37 / Chapter 5.4.1 --- 倚重單一廣告來源 --- p.37 / Chapter 5.4.2 --- 弱勢報紙的困局 --- p.41 / Chapter 5.5 --- 單一廣告商的力量 --- p.45 / Chapter 5.6 --- 中方的影響 --- p.50 / Chapter 6 --- 與前瞻 --- p.55 / Chapter 6.1 --- 自我審查的誘因 --- p.57 / Chapter 6.1.1 --- 劃一售價取消 --- p.57 / Chapter 6.1.2 --- 廣告聯盟的形成 --- p.58 / Chapter 6.1.3 --- 商品普及化 --- p.59 / Chapter 6.1.4 --- 其他 --- p.61 / Chapter 6.2 --- 紓解廣告商壓力的可行途徑 --- p.61 / 註釋 --- p.64 / 參考書目(中文） --- p.66 / 參考書目(英文） --- p.68 / 附錄一：深度訪問名單 --- p.70 / 附錄二 ：深度訪問內容 --- p.71 / 附錄三 《明報》「睇樓手冊」樣本 --- p.73

Univ., Diss. u.d.T.: Städtische Zensoren zwischen liberalem Stadtbürgertum und staatlicher Bevormundung im Regierungsbezirk Merseburg von 1816 bis 1848--Halle, 2003.

O objetivo geral da pesquisa é estudar os critérios utilizados pelas empresas para a escolha dos projetos de artes cênicas patrocinados via isenção fiscal da Lei Rouanet. O objetivo específico é mostrar como os parâmetros de visibilidade midiática, relação custo-benefício, endomarketing, marketing de relacionamento e de negócios e oportunidades de comunicação com públicos de interesse (funcionários, clientes, consumidores, comunidade de entorno) valorizam atores e diretores consagrados pela mídia em detrimento de autores e diretores e atores desconhecidos da mídia, o que dificulta o acesso das produções teatrais experimentais e de pesquisa aos recursos de renúncia fiscal da Lei Rouanet. A Lei Rouanet foi instituída em um contexto neoliberal do Brasil no qual o Estado transferiu à iniciativa privada a viabilização da produção artística que passa a ser avaliada segundo sua potencialidade de se transformar em mercadoria e conquistar novos consumidores com o objetivo de gerar lucro para as empresas. Entrevistamos representantes de empresas privadas e públicas, diretores de projetos patrocinados e inviabilizados por meio da Lei Rouanet e fizemos um levantamento das peças de teatro patrocinadas no ano de 2011 por meio da renúncia fiscal e concluímos que existe uma concentração de recursos de isenção fiscal em produções da Broadway e em atores e diretores consagrados pela mídia em detrimento de autores e diretores e atores desconhecidos da imprensa. Dessa forma, as grandes empresas beneficiam espetáculos que dão retorno financeiro e de marketing institucional, a cultura do entretenimento que busca divertir e agradar ao \"grande público\". Pesquisa do Ministério da Cultura afirmou que existe uma concentração de 50% dos recursos em apenas 3% dos proponentes. Dessa forma, identificamos o conceito de censura de mercado que age em duas vertentes processuais de censura: na primeira, a restrição à produção artística com assuntos polêmicos impede que significados, valores e sentimentos divergentes da convenção social sejam levados ao público, na segunda, exclui as produções teatrais experimentais e de pesquisa do acesso aos recursos públicos da Lei Rouanet, pois essas expressões artísticas possuem imprevisibilidade de bilheteria, de crítica, público e rendimento. / The overall objective of the research is to study the criteria used by companies to the choice of performing arts projects sponsored via tax exemption of Rouanet Law. The specific objective is to show how the media visibility of parameters, cost-effective, internal marketing, relationship marketing and business opportunities and communication with stakeholders (employees, customers, consumers, surrounding community) value embodied by actors and directors media at the expense of authors and directors and media unknowns, which hinders the access of experimental theater productions and research to fiscal waiver resources Rouanet Law. The Rouanet Law was instituted in a neoliberal context of Brazil in which the State transferred to the private sector the viability of artistic production which happens to be evaluated according to their potential to transform into merchandise and win new customers in order to generate profit for companies. We interviewed representatives of private and public companies, sponsored project managers and made impossible through the Rouanet Law and made a survey of theater plays sponsored in 2011 through tax breaks and concluded that there is a concentration of tax exemption resources in production Broadway actors and directors and consecrated by the media to the detriment of authors and directors and unknown actors of the press. Thus, large companies benefit performances that give financial and institutional marketing return, the entertainment culture that seeks to entertain and please the \"general public\". Research the Ministry of Culture affirmed that there is a concentration of 50% of the resources in only 3% of the proposers. Thus, we identified the concept of market censorship acting on two procedural aspects of censorship: first, the restriction of artistic production with controversial issues prevents meanings, values and divergent feelings of social convention are brought to the public. In the second excludes experimental theater productions and research theater access to public resources of the Rouanet Law, for these artistic expressions have unpredictable box office, critical, audience and revenue.

This thesis examines how librarians, in their own point of view, can and do handle influences on their daily work routines. The main focus is on whether the librarians’ experiences suggest that these influences lead to self-censorship in how media and information is acquired, handled and distributed. The contrast between the librari-ans’ actual and ideal situations, regarding their perceived freedom to act, are also examined. Seven librarians from different fields and different parts of Sweden are questioned using semi-structured interviews. The results are analyzed using models of self-censorship from Bar-Tal and Beckman as well as an influential article on selection and censorship in libraries from Asheim. A closer reading of the librarians’ stories finds four recurring themes: Perceived autonomy and freedom, Motives and context, Examples of influence and self-censorship and Ideals and reailty. The themes are analyzed in depth, with key quotes from the librarians serving as illustrations, using the aforementioned theoretical models as tools. From these analyses, the following conclusions are drawn: Preceptions of autonomy and workload in-fluence how librarians view their freedom to propose new ideas and handle media and information in accordance with their ideals. There also seems to exist a discrepancy regarding the librarians’ expected flexibility with rules and routines, leading to confusion among the librarians. Furthermore, disinclinations towards discussion in the workplace are common when the topics are controversial, such as the removal of racist material, and attempts at discussion are often ignored. Lastly, proximity to the end users also influence the librarians, leading to an increased risk of bias in selection and weeding processes. Together these things influence how librarians cope with management of collections and activities, as well as how they treat colleagues and end users, in the context of self-censorship. The conclusions, as well as their effects on librarians, libraries and society as a whole, are then discussed. This is a two years master's thesis in Library and information science.

Die vorliegende Arbeit liefert einen Beitrag zur Erforschung der institutionalisierten Zensur von literarischen Texten im Franquismus anhand der Untersuchung von Werken Ana María Matutes. Als repressives Instrument diente die Zensur der Kontrolle, dem Schutz vor ‚kritischen‘ Inhalten sowie der Propagierung, Durchsetzung und Konsolidierung des franquistischen Dogmas. Zensiert wurden ‚bedrohliche‘ Werke aufgrund ihres kommunikativen Gehalts, aber auch wegen der sie charakterisierenden materiellen Fixierung, konnte die ‚gefürchtete‘ Aussage ihre Wirkung doch an vielen Orten noch lange nach dem Moment ihrer Entstehung entfalten. Die originale unzensierte Textfassung vieler Werke ist deswegen für den Leser bis heute oft unzugänglich. Das gilt auch für das Œuvre Matutes, einer der bedeutendsten spanischen Autorinnen der zweiten Hälfte des 20. Jahrhunderts. Anhand der erhaltenen Zensurakten zu vier Romanen – „Los Abel“, „Luciérnagas“/„En esta tierra“, „Los hijos muertos“ und „La trampa“ – wird zunächst deren unterschiedliches ‚Schicksal‘ zwischen staatlicher Zensur und forcierter Selbstzensur rekonstruiert. Die daraus gewonnenen Erkenntnisse dienen als Ausgangsbasis für die literaturwissenschaftliche Analyse der individuellen Auswirkungen dieser Eingriffe auf inhaltlicher, struktureller, figürlicher und formal-stilistischer Ebene sowie zur Feststellung des Grads an ‚Co-Autorenschaft‘ der Zensoren, die die Texte im Hinblick auf ihre Konformität mit den etablierten moralischen, politischen und religiösen Normen rezipierten. Darüber hinaus werden Funktionsweise, Irrtümer und Grenzen der literarischen Kontrollinstanz anhand von vier weiteren Werken dargestellt, zu denen „Fiesta al Noroeste“, „Pequeño teatro“, „Los niños tontos“ und „Los soldados lloran de noche“ zählen. Auf diese Art und Weise kann ein umfassender Einblick in die Arbeits- und Funktionsweise der franquistischen Zensurbehörde innerhalb des machtstrukturellen Kontextes des Franco-Regimes gegeben werden. / This research paper contributes to the study of institutionalized censorship of literary texts under Francoism by examining the works of Ana María Matute. As a repressive instrument, censorship served to control, protect against 'critical' content and propagate, enforce and consolidate Francoist dogma. 'Threatening' works were censored because of their communicative content, but also because of the material fixation that characterized them, since the 'feared' statement could continue to have its effect long after the moment of its creation and in many places. The original uncensored text version of many works is therefore often inaccessible to readers even today. This also applies to the oeuvre of Matute, one of the most important Spanish authors of the second half of the 20th century. Using the surviving censorship files for four novels – “Los Abel”, “Luciérnagas”/“En esta tierra”, “Los hijos muertos” and “La trampa” - we first reconstruct their different 'fates' between state censorship and forced self-censorship. The insights gained from this serve as a starting point for the literary analysis of the individual effects of these interventions on the level of content, structure, characters and formal style, as well as for determining the degree of 'co-authorship' of the censors, who only received the texts with regard to their conformity with established moral, political and religious norms. In addition, the functioning, errors and limits of the literary control authority are presented on the basis of four other works, which include “Fiesta al Noroeste”, “Pequeño teatro”, “Los niños tontos” and “Los soldados lloran de noche”. In this way, a comprehensive insight can be given into the working and functioning of the censorship authority within the power structure context of the Franco regime.

This thesis is an account of the events surrounding the passage of the Dallas Motion Picture Classification Ordinance of April 5, 1965. A stalemate between two disputing private factions in the city leads to public policy in the form of a municipal ordinance. Litigation quickly follows, and in the final analysis, a judicial determination temporarily ends the controversy...This investigation reveals that the council did not formulate public policy of its own volition, but only acted as an extension of the private struggle which had lasted for approximately thirty-six months.

No description available.