LEADER 03974nam 2200745 a 450 001 9910785705203321 005 20230803025003.0 010 $a0-8047-8487-6 024 7 $a10.1515/9780804784870 035 $a(CKB)2670000000315147 035 $a(EBL)1098009 035 $a(OCoLC)823725613 035 $a(SSID)ssj0000803825 035 $a(PQKBManifestationID)12387637 035 $a(PQKBTitleCode)TC0000803825 035 $a(PQKBWorkID)10811229 035 $a(PQKB)10308427 035 $a(StDuBDS)EDZ0000127870 035 $a(MiAaPQ)EBC1098009 035 $a(DE-B1597)564478 035 $a(DE-B1597)9780804784870 035 $a(Au-PeEL)EBL1098009 035 $a(CaPaEBR)ebr10636336 035 $a(OCoLC)1178768949 035 $a(EXLCZ)992670000000315147 100 $a20120726d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBetter left unsaid$b[electronic resource] $eVictorian novels, Hays Code films, and the benefits of censorship /$fNora Gilbert 210 $aStanford, Calif. $cStanford Law Books, an imprint of Stanford University Press$d2013 215 $a1 online resource (202 p.) 225 1 $aThe cultural lives of law 300 $aDescription based upon print version of record. 311 $a0-8047-9531-2 311 $a0-8047-8420-5 320 $aIncludes bibliographical references and index. 327 $aIntroduction : the joy of censorship -- The sounds of silence: W.M. Thackeray and Preston Sturges -- For sophisticated eyes only : Jane Austen and George Cukor -- Beyond censorship : Charles Dickens and Frank Capra -- The thrill of the fight : Charlotte Bronte? and Elia Kazan -- Postscript : Oscar Wilde and Mae West. 330 $aBetter Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife?the Victorian novel and classical Hollywood film?this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity?thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them. 410 0$aCultural lives of law. 606 $aEnglish fiction$y19th century$xCensorship 606 $aFiction$xCensorship$zGreat Britain$xHistory$y19th century 606 $aMotion pictures$xCensorship$zUnited States$xHistory$y20th century 606 $aLiterature and morals$zGreat Britain$xHistory$y19th century 606 $aMotion pictures$xMoral and ethical aspects$zUnited States 606 $aCensorship$zGreat Britain$xHistory$y19th century 606 $aCensorship$zUnited States$xHistory$y20th century 615 0$aEnglish fiction$xCensorship. 615 0$aFiction$xCensorship$xHistory 615 0$aMotion pictures$xCensorship$xHistory 615 0$aLiterature and morals$xHistory 615 0$aMotion pictures$xMoral and ethical aspects 615 0$aCensorship$xHistory 615 0$aCensorship$xHistory 676 $a363.31/0941 700 $aGilbert$b Nora$01548544 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910785705203321 996 $aBetter left unsaid$93805643 997 $aUNINA