Add to ORKGhis article explores some of the findings from awork-in-progress project that Ibegan working on in to investigate the retrospective memories of s British audiences surrounding viewing films classified either or by the BBFC, while the participants were underage. Iquestion the so-called victims of censorship that have matured into their s and are no longer at the mercy of parents or the classifications of the BBFC in order to investigate the retrospective memories of these adults who were once participating in forbidden viewings as children in the s. This article explores Annette Kuhn’s idea that for audiences, the movie fades from memory to make way for more movies, but it is the life experiences that stay with the viewer. B...
[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Austr...
This article focuses on the results of my research project on cinemagoing heritage, concluding with ...
Published work which addresses video’s formative years in Britain typically frames children in one o...
his article explores some of the findings from awork-in-progress project that Ibegan working on in ...
This article explores some of the findings from a work-in-progress project that I began working on i...
This is an accepted manuscript of an article published by Taylor and Francis in Media History on 28/...
For over thirty years the Children’s Film Foundation (CFF) produced a variety of shorts, travelogues...
In the early 1980s, a moral panic erupted in the United Kingdom over the perceived threat that horro...
This article examines why it took 33 years before Mark of the Devil (1970) could be distributed in...
Following the 25th anniversary of the making of this controversial film, this article for Film Inter...
Existing research on British censorship during the 1940s has often favoured the notion that a so-cal...
Film censorship in post-war Italy has been widely researched by scholars from the perspective of gov...
Abstract Cinema was the first medium in the UK to be subject to a system of age-centric prohibition,...
During the 1960s, European cinema became increasingly available to British audiences. The expansion ...
During the Allied Occupation of Japan (1945-1952), female audiences, particularly children and teena...
[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Austr...
This article focuses on the results of my research project on cinemagoing heritage, concluding with ...
Published work which addresses video’s formative years in Britain typically frames children in one o...
his article explores some of the findings from awork-in-progress project that Ibegan working on in ...
This article explores some of the findings from a work-in-progress project that I began working on i...
This is an accepted manuscript of an article published by Taylor and Francis in Media History on 28/...
For over thirty years the Children’s Film Foundation (CFF) produced a variety of shorts, travelogues...
In the early 1980s, a moral panic erupted in the United Kingdom over the perceived threat that horro...
This article examines why it took 33 years before Mark of the Devil (1970) could be distributed in...
Following the 25th anniversary of the making of this controversial film, this article for Film Inter...
Existing research on British censorship during the 1940s has often favoured the notion that a so-cal...
Film censorship in post-war Italy has been widely researched by scholars from the perspective of gov...
Abstract Cinema was the first medium in the UK to be subject to a system of age-centric prohibition,...
During the 1960s, European cinema became increasingly available to British audiences. The expansion ...
During the Allied Occupation of Japan (1945-1952), female audiences, particularly children and teena...
[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Austr...
This article focuses on the results of my research project on cinemagoing heritage, concluding with ...
Published work which addresses video’s formative years in Britain typically frames children in one o...
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