ing films that touched on this topic. E.g. Spielberg deleted a reference to terrorism in his re-release of E.T. yet in 2005 released his version of The War of the Worlds which depicted the destruction of US society by Ďaliení warfare.
On an informal basis we employ individual and collective censorship. As an artist/ film maker we might never want to make a film that would feature a subject repugnant to ourselves or we might meet resistance from financial backers if we did try to make such a film. The commercial basis of film making and the need for box office success can dictate and censor the type of films than can or cannot be made.
In the 1950 and 1960s
the affluent/permissive society broke down many
traditional barriers and previously taboo topics
became the subject of films. Violence and nudity
became more graphic. The innuendoes of the Carry
On films gave why to the more explicit Confessions
films of the 1970s.
Activity: What film topics would you like to censor now? Is free speech and censorship compatible?
New technology presents new problems for film censorship. The perfection of special effects especially with the introduction of digital technology in the early 1990s means that all forms of graphic violence can be depicted. Furthermore, the technological means of delivering films to an audience has evolved. Video technology of the 1980s brought about the fears of video nasties being viewed in the home. Similarly video games portraying graphic violence and scenarios have created equally powerful moral panics. Currently the Internet has prompted fears about the easy distribution of uncensored films and other visual material to people in their homes.
ACTIVITY: Is censorship necessary or possible in the future? Is classification alone able to Ďcontrolí what we view?
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