Chapter 1. History of the censorship
Chapter 2. Censorship in film industry of the USSR.
1.Katherine Eaton Enemies of the People: The Destruction of Society Literary, Theatre & Film Arts in the 1930's. Evanston: Northwestern Uni Press 2002.
2.Marianna Choldin & Maurice Friedberg The Red Pencil: Artists, Scholars, and Censors in the USSR. Boston: Unwin Hyman 1989
3.Mette Newth. The long history of censorship. Norway. 2001. // Электронный ресурс, режим доступа: http://www.beaconforfreedom.org/about_project/history.html
4.Блюм А. В. За кулисами «Министерства правды». Тайная история советской цензу-ры, 1917—1929. — СПб.: Академический проект, 1994. 320 с.
5.Блюм А. В. Советская цензура в эпоху тотального террора. 1929-1953. СПб.: Ака-демический проект, 2000. 283 с.
6.Жирков Г. В. История цензуры в России XIX—XX вв. М.: Аспект пресс, 2001. 358 с.
Показать всеветской политической цензуры. Документы и комментарии / Состави-тель Т. М. Горяева. М.: Российская политическая энциклопедия, 1997. 672 с.
8.Мир и фильмы Андрея Тарковского / Сост. А.М. Сандлер. - М.: Искусство, 1991, с. 382-386
9.Новейшая история отечественного кино. 1986-2000. Кино и контекст. Т. IV. СПб, Сеанс, 2002
10.Энциклопедия отечественного кино. СССР/СНГ / Под. Ред. Л. Аркус. М. 2006-2009. // Электронный ресурс, режим доступа: http://russiancinema.ru/ Скрыть
In the conclusions there is the main ideas of the work.
Chapter 1. History of the censorship
1.1 Censorship has followed the free expressions of men and women like a shadow through history. In ancient societies, such as those of Israel or China, censorship was considered a legitimate instrument for regulating the moral and political life of the population. In China, the first censorship law was introduced in 300 AD.  The origin of the term censor in English can be traced to the office of censor established in Rome in 443 BC. In Rome, as in the ancient Greek communities, the ideal of good governance included shaping the character of the people. Hence censorship would have been regarded as an honorable task. The most famous case of censorship in ancient times is that of Socrates, senten
Показать всеced to drink poison in 399 BC for his corruption of youth and his acknowledgement of unorthodox divinities. But it is fair to assume that Socrates was not the first person to be severely punished for violating the moral and political code of his time. This ancient view of censorship, as a benevolent public service in the best interest of the people, is still upheld by countries such as China, as it was advocated by the rulers of the Soviet Union (USSR), responsible for the longest lasting and most extensive censorship of the 20th Century .
The struggle for freedom of expression is as ancient as the history of censorship. Free speech and freely expressed thoughts and ideas may have posed problems to pre-Christian rulers, but hardly more troublesome than to the guardians of Christianity, as orthodoxy became established. Helpful measures to fend off a heretical threat to Christian doctrine were introduced, such as the Nicene Creed, promulgated in AD 325. But as more books were written, copied and increasingly widely disseminated, subversive and heretical ideas were spread beyond control. Consequently, censorship became more rigid and punishment more severe. The problem increased with the invention of the printing press in Europe in the middle of the 15th Century. Although printing greatly aided the Catholic church and its mission, it also aided the Protestant Reformation and "heretics" such as Martin Luther, thus the printed book became an arena for a religious battle. In western history, the very term censorship takes on a whole new meaning with the introduction of the Index Librorum Prohibitorum - lists of books banned for their heretical or ideologically dangerous content, issued by the Roman Catholic Church, and with the Sacred Inquisition as the zealous guardians, banning and burning books and sometimes also the authors. The most famous of banned authors undoubtedly being Galileo in 1633. The most famous victims of the Inquisitions trials being Joan of Arc (1431) and Thomas More (1535). .
The first Index of Prohibited Books was drawn up by order of Pope Paul IV in 1559. The lists were issued 20 times through the centuries by different popes, the last issued as recently as in 1948, and finally suppressed in 1966.
The Catholic Church, controlling universities such as the Sorbonne, also controlled all publications through its decree in 1543 that no book could be printed or sold without permission of the church. Then in 1563, Charles IX of France decreed that nothing could be printed without the special permission of the king. Soon other secular rulers of Europe followed suit, and scientific and artistic expressions, potentially threatening to the moral and political order of society, were brought under control through systems of governmental licence to print and publish.
The dual system of censorship created through the close alliance between church and state in Catholic countries, was also exported to the forcibly colonised countries in the Americas.
The Inquisition established in Peru in 1568, was part of a colonial policy by Philip II of Spain, designed to deal with the political and ideological crisis in the Peruvian viceroyalty. The Peruvian system was a blueprint of the Spanish, entailing control of the import of books, the inquisitorial officers periodically examining ships and luggage in ports, inspecting libraries, bookstores and printing houses. When the Inquisition was established in Peru in 1569, the Tribunal's district ranged from Panama to Chile and Rio de La Plat .
Oppressive and sinister as the censorship executed by the Inquisition no doubt was to the peoples of the colonies of the Americas, hardly anything can compare to the devastating effect of the destruction by the Spanish invaders of the unique literature of the Maya people. The burning of the Maya Codex remains one of the worst criminal acts committed against a people and their cultural heritage, and no less a terrible loss to the world heritage of literature and language.
1.2. The Russian empire, having a long tradition of strict censorship, was slow to undergo the changes that central European countries had passed a century before. Censorship reforms were started in a single decade of tolerance, from 1855 to 1865 during the reign of tsar Alexander II, when the transition was made from legislation on pre-censorship to the punitive system based on legal responsibility . During the decade, the press enjoyed greater freedom and more radical ideas were voiced, thus censorship laws were re-imposed in 1866, practically eliminating the basic ideas of the reform. Only half a century later, pre-censorship was abrogated in the law of 1905-1906. Finally, all censorship were abolished in the decrees dated April 27, 1917 issued by the Temporary Government. However, the freedom was short lived. The decrees were only in force until October 1917. Then a new, long and extensive era of strict censorship began, now executed by the revolutionary rulers of the USSR, lasting until the end of the 1980s. Taking into account the long history of strict censorship during tsar-regimes, the Russian people have only been without formal censorship in the last decade of this millennium .
The new order of the USSR meant drastic political and economic changes, but also the areas of culture, education and religion were subject to revolutionary changes, all with the idealistic intentions of relieving the new Soviet citizen of the suppressive yokes of feudalism. Hence religion, regarded as gross and misleading superstition, was targeted only a few months after the revolution. In the spring of 1918, a decree was issued formally separating church from state, followed by strict prohibitions imposed on religious bodies along with nationalisation of all church property. In 1922, the central censorship office was established, known for short as Glavlit. Aiming to purge the Soviet society of all expressions regarded as destructive to the new order and contagious to the minds of people, the Glavlit had absolute authority to subject the performing arts and all publications to preventive censorship, and suppress political dissidence by shutting down "hostile" newspapers [5,6]. However, in the early 1920s during the time of Lenin and Trotsky, writers and artists were granted creative freedom, provided they observed the rule of not engaging in overt political dissent. This leniency may be attributed to the regime’s recognition of the importance of intellectuals for the conveyance of the new ideals. Although the majority of intellectuals were opposed to the revolution, many artists and intellectuals supported the revolution’s ideals of equality for all and freedom from slavery and poverty. Also Russian artists had embraced the ideals of the European Modernist Movement, already in 1915 forming the visionary Avant Garde aesthetic movement, surviving until 1932. Thus, the first years of the new order saw a degree of innovation in literature and the arts, starkly contrasting to the overall political rigidity of the regime. All leniency was to end with the Stalin regime. Hence forward, the censorship system became all the more elaborate, and the methods of purging increasingly sinister; authorising printing, banning publications and preventing import of foreign books [8: 15].
Chapter 2. Censorship in film industry of the USSR.
2.1. The new state, the Union of Soviet Socialist Republics, officially came into existence on December 30, 1922. From the outset, it was held that film would be the most ideal propaganda tool for the Soviet Union because of its mass popularity among the established citizenry of the new land; V. I. Lenin, in fact, declared it the most important medium for educating the masses in the ways, means and successes of Communism, a position which was later echoed by Joseph Stalin. Meanwhile, between World War I and the Russian Revolution, most of the film industry, and the general infrastructure needed to support it (e.g. electrical power), was in a shambles [5: 28].
The majority of cinemas had been in the corridor between Moscow and St. Petersburg in Russia, and most were out of commission. Additionally, many of the performers, producers, directors and other artists of pre-Soviet Russia, had fled the country or were moving ahead of the Red Army forces as they pushed further and further south into the remainder of the Russian Empire. Furthermore, the new government did not have the funds to spare for an extensive reworking of the system of filmmaking. Thus, they initially opted for project approval and censorship guidelines while leaving what of the industry remained in private hands. As this amounted mostly to cinema houses, the first Soviet films consisted of recycled films of the Russian Empire and its imports, to the extent that these were not determined to be offensive to the new Soviet ideology. Ironically, the first new film released in Soviet Russia did not exactly fit this mold: this was Father Sergius, a religious film completed during the last weeks of the Russian Empire but not yet exhibited. It appeared on Soviet screens in 1918. [6: 58].
Beyond this, the government was principally able to fund only short, educational films, the most notorious of which were the agitki - propaganda films intended to "agitate", or energize and enthuse, the masses to participate fully in approved Soviet activities, and deal effectively with those who remained in opposition to the new order. These short (often one small reel) films were often simple visual aids and accompaniments to live lectures and speeches, and were carried from city to city, town to town, village to village (along with the lecturers) to indoctrinate the entire countryside, even reaching areas where film had not been previously seen.
Newsreels, as documentaries, were the other major form of earliest Soviet cinema. Dziga Vertov's newsreel series Kino-Pravda, the best known of these, lasted from 1922 to 1925 and had a propagandistic bent; Vertov used the series to promote socialist realism but also to experiment with cinema.
Still, in 1921, there was not one functioning cinema in Moscow until late in the year. Its rapid success, utilizing old Russian and imported feature films, jumpstarted the industry significantly, especially insofar as the government did not heavily or directly regulate what was shown, and by 1923 an additional 89 cinemas had opened. Despite extremely high taxation of ticket sales and film rentals, there was an incentive for individuals to begin making feature film product again - there were places to show the films - albeit they now had to conform their subject matter to a Soviet world view. In this context, the directors and writers who had remained in support of the objectives of Communism assumed quick dominance in the industry, as they were the ones who could most reliably and convincingly turn out films that would satisfy government censors. New talent joined the experienced remainder, and an artistic community assembled with the goal of defining "Soviet film" as something distinct and better from the output of "decadent capitalism". The leaders of this community viewed it essential to this goal to be free to experiment with the entire nature of film, a position which would result in several well-known creative efforts but would also result in an unforeseen counter-reaction by the increasingly solidifying administrators of the government-controlled society. [9: 8].
Sergei Eisenstein's Battleship Potemkin was released to wide acclaim in 1925; the film was heavily fictionalized and also propagandistic, preaching the party line about the virtues of the proletariat. The party leaders soon found it difficult to control directors' expression, partly because definitive understanding of a film's meaning was elusive.
One of the most popular films released in the 1930s was Circus. Immediately after the end of the Second World War, color movies such as The Stone Flower (1946), Ballad of Siberia (1947), and The Kuban Cossacks (1949) were released. Other notable films from the 1940s include Alexander Nevsky and Ivan the Terrible.
Goskino is the abbreviated name for the USSR State Committee for Cinematography in the Soviet Union. It was the supreme government organs in charge of the cinematography. It was absorbed by the USSR Ministry of Culture in 1953 but became an independent organization again in 1963.
This organization performed both general management and censorship functions in Soviet Union film industry.
In the modern Russian Federation, the counterparts were Roskomkino and Roskultura. The presidents of Goskino
1963 - 1972 Alexei Romanov
1972 - 1986 Filipp Ermash .
In the late 1950s and early 1960s Soviet Cinema produced Ballad of a Soldier, which won the 1961 BAFTA Award for Best Film, and The Cranes Are Flying.
Height is considered to be one of the best films of the 1950s (it also became the foundation of the bard movement).
The 1980s saw a diversification of subject matter. Touchy issues could now be discussed openly. The results were films like Pokayanie (Repentance), which dealt with Stalinist repressions in Georgia, and the allegorical science fiction movie Kin-dza-dza!, which satirized the Soviet life in general.
2.2 Having done a thorough analysis [5, 6, 10] of the probable reasons which defined the censors' decisions to cut and ban films may be classified as following: Скрыть
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