Censored : the private life of the movie (1930)

Record Details:

Title:
Censored : the private life of the movie
Date:
1930
Publisher:
New York : Jonathan Cape and Harrison Smith, Incorporated
Volume:
Censored : the private life of the movie
Leaf #:
000175
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 21, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE BISHOP OF HOLLYWOOD a great psychologist? If he agreed with Brill, he might reason thusly: "Urban life has robbed its millions of the machinery of loving, hating, fighting, with which they were born. We shall have free movies for the masses to afford them a cheap Kartharsis, to prevent torch murders, and grim passions. We will teach biology in the movies. We will award prizes for the best movie of American life. "We will give honourable mention to the finest movie architecture. We will fight poverty, war and venereal disease in schools with the movie." These, and many other things the doctor might prophesy. But the movie was not given into the hands of a writer, a scientist, a statesman. It was turned over to a politician, a Presbyterian elder. Will Hays was brought into the movie industry to give it the stamp of respectability, the atmosphere of conservative elegance, that characterized the Harding Administration. Since then his work has been in two over-lapping divisions: social, political. 125