Sprache: Englisch
Verlag: Stanford University Press, Palo Alto, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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Paperback. Zustand: new. Paperback. Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them. Taking two narrative genres that are generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Sprache: Englisch
Verlag: Stanford University Press, US, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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In den WarenkorbPaperback. Zustand: New. Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.
Sprache: Englisch
Verlag: Stanford University Press, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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Sprache: Englisch
Verlag: Stanford Law Books 1/1/2015, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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Paperback or Softback. Zustand: New. Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship. Book.
Sprache: Englisch
Verlag: Stanford University Press, US, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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Paperback. Zustand: New. Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.
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ISBN 10: 0804795312 ISBN 13: 9780804795319
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ISBN 10: 0804795312 ISBN 13: 9780804795319
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Verlag: Purnell, 1978
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Verlag: Stanford University Press, Palo Alto, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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Paperback. Zustand: new. Paperback. Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them. Taking two narrative genres that are generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Zustand: New. Taking two narrative genres that are generally presumed to have been stymied by the censor s knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually .
Sprache: Französisch
Verlag: Édition SNEP, Paris, 1986
Anbieter: VintagePhotoBooks, Amsterdam, Niederlande
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Soft cover. Zustand: Fine. 310 gr, 32 x 24 cm, text in French by Gilbert Lascoult.
Sprache: Englisch
Verlag: Stanford University Press, US, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
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In den WarenkorbPaperback. Zustand: New. Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.
Taschenbuch. Zustand: Neu. Neuware.
Sprache: Englisch
Verlag: Stanford University Press Jan 2015, 2015
ISBN 10: 0804795312 ISBN 13: 9780804795319
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Neuware - Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art.