What shocked the censors! (1933)

Record Details:

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 Wlork of the Censors: A Qualitative Interpretation. The fact that censors either delete or reject more than one third of all feature motion picture films submitted is in itself important. We now begin to see that censorship is not a haphazard, intermittent process but that it actually serves as a sieve through which all films shown in New York State must pass, and that some change is effected in almost forty per cent of the total. But, what is of vastly greater importance, obviously, is to understand what is deleted and upon the basis of what principles the censors operate. The categories of censorship are, in essence at least, simple; they consist of five terms, namely, Sex, Crime, Violence, Government, and Religion. The underlying moral compulsions are two-fold; in the first place the censor does not permit Sex, Crime, or Violence to become too attractive or too grue- some, and in the second place he wishes to protect Government and Religion from direct attacks and indirect calummies. In brief, the first three categories lepresent the taboos of our civilization and the last two its sacred objects. But the reader may wish to have before him a more graphic presentation of the censor's criteria, and the following chart may serve this purpose: