Free Speech on America's K-12 and College Campuses: Legal Cases from Barnette to Blaine covers the history of legal cases involving free speech issues on K-12 and college campuses, mostly during the fifty-year period from 1965 through 2015. While this book deals mostly with high school and college newspapers, it also covers religious issues (school prayer, distribution of religious materials, and use of school facilities for voluntary Bible study), speech codes, free speech zones, self-censorship due to political correctness, hate speech, threats of disruption and violence, and off-campus speech, including social media. Randall W. Bobbitt provides a representative sampling of cases spread across the five decades and across the subject areas listed above. Recommended for scholars of communication, education, political science, and legal studies.

Canadian news reports are riddled with accounts of Access to Information requests denied and government reports released with large swaths of content redacted. The Unfulfilled Promise of Press Freedom in Canada offers a vast array of viewpoints that critically analyze the application and interpretation of press freedom under the Charter of Rights. This collection, assiduously put together by editors Lisa Taylor and Cara-Marie O'Hagan, showcases the insights of leading authorities in law, journalism, and academia as well as broadcasters and public servants. The contributors explore the ways in which press freedom has been constrained by outside forces, like governmental interference, threats of libel suits, and financial constraints. These intersectional and multifaceted lines of inquiry provide the reader with a 360-degree assessment of press freedom in Canada while discouraging complacency among Canadian citizens. After all, an informed citizenry is a free citizenry.

The New Iranian Cinema is considered by many to be the most fascinating cultural phenomenon produced within the Islamic Republic of Iran. Containing twelve first-hand interviews with the most renowned film-makers living and working in contemporary Iran, this book provides insights into film-making within a society often at odds with its rulers. Reflecting upon the 1979 revolution and its influence on their work, as well as the effect of their films on Iranian audiences, film-makers such as Abbas Kiarostami and Jafar Panahi highlight the key issues surrounding the reception of Iranian cinema in the West and also its role in the development of Iran's global image. Through these conversations Shiva Rahbaran reveals that the seeds of the New Iranian Cinema were sown long before the revolution, and that Iranian film-makers gave rise to a cinema which became a global phenomenon despite censorship, sanctions and political isolation.

Pat Scales has been a passionate advocate for intellectual freedom long before she launched the "Scales on Censorship" column with School Library Journal in 2006. Decades of experience as a school librarian informs her ongoing work on these important and often volatile issues, as did her tenure in leadership roles on the American Library Association's Intellectual Freedom Committee and at the Freedom To Read Foundation. It also earned her a place among the inaugural list of Library Journal's Movers & Shakers in 2002. Since her first column for SLJ she has been in an ongoing conversation of sorts with librarians, teachers, and parents-a much needed conversation. This collection of the wide-ranging questions from readers and Scales' informative answers are gathered in broad thematic groups to help readers explore the all-too daily reality of confronting efforts to censor, ban, or otherwise limit open and ready access to materials in our schools and libraries. They were all written in response to active book challenges or questions of intellectual freedom and library ethics. These columns have a ripped from the headlines immediacy even as they reflect the core values and policies of librarianship. They are organized by topic and each is framed with a brief new introductory essay. Scales' powerful reputation and practical ethically-based solutions has made her a key spokesperson and support for librarians working under a censorship siege. Her passionate, unwavering voice provides valuable strategic and tactical approaches to censorship, fine-tuned insight into individual books often challenged, and critical moral support for managing trying conversations. Scales is focused throughout on fostering a culture that embraces and understands the importance of intellectual freedom, and the tools to make it a reality every day in our libraries, schools, and communities. Learn from her to build a background in the ethics involved in defending intellectual freedom and lean on her for insights into real-life situations. Scales on Censorship is an essential ally in the ongoing fight.

This is the first part of a two volume analysis of British theatre censorship from 1900 until 1968, based on previously undocumented material in the Lord Chamberlain's Correspondence archives. It covers the period before 1932, when theatre was widely seen as a crucial medium with the power to shape the future of society, determining what people believed and how they behaved. It explores the portrayal of a broad range of topics in relation to censorship, including the First World war; race and inter-racial relationships; contemporary and historical international conflicts; horror; sexual freedom and morality; class; the monarchy; religion.

Where previous interpretations, based on more limited evidence and topics, have often constructed the Lord Chamberlain's Office either as an annoying but amusing irrelevance, or as dictatorial in its unchanging certainties, this study throws completely new light on the day-to-day functioning of the system and the principles, policies and detailed practice of theatre censorship. It uncovers the differing views and the disputes which occurred among and between the Lord Chamberlain and his Readers and Advisers, and discusses the extensive pressures exerted on him by bodies such as the Public Morality Council, the Church, the monarch, government departments, foreign embassies, newspapers, powerful individuals and those claiming to represent national or international opinion.

The aim of this book is to a launch a polemic for the freedom of the press against all of the attempts to police, defile and sanitise journalism today. Once the media reported the news. Now it makes it. The phone-hacking scandal and the Leveson Inquiry into the "culture, practice and ethics" of the media has put the UK press under scrutiny and on trial as never before. There Is No Such Thing as a Free Press questions many of today's distorted but widely-held views of the media, and turns the assumptions underlying the current discussion on their head. The problem is not that the UK press has too much freedom to run wild, but too little liberty. The trouble is not that the UK press is too far out-of-control, but that it is far too conformist. The danger is not that press freedom is too open to abuse, but that the British media is not nearly open enough. Mick Hume draws on the lessons of history and cross-examines the evidence from the Leveson Inquiry to take on the army of conformists and regulators who would further tame press freedom.

Shaheed Nick Mohammed's Communication and the Globalization of Culture: Beyond Tradition and Borders provides a unique perspective on the concept of culture and its fate in the globalized, mediated environment. Acknowledging widespread fears of cultural erosion at the hands of dominant global forces, Mohammed argues that what we understand as culture has always been the product of global forces, including those of trade and exchange. Our very conceptions of culture are questioned. The sanctity of tradition, religion, and heritage, the book suggests, should give way to an appreciation of the quite mundane origins of cultural artifacts, invented often as matters of political or social expedience, adopted sometimes in accidents of history and canonized by time into the catechisms of cultural belief. Communication and the Globalization of Culture also suggests several mechanisms by which pragmatic social practices and fictional discourses make their way into the cultural beliefs and traditions of societies. Shaheed Nick Mohammed examines how the modern globalized environment gives rise to cultural practices that demonstrate cultural inventions, imagined communities, and manufactured cultural products, suggesting that such inventions and imaginations are not uniquely modern but rather a continuation of cultural inventions that long pre-date our media-globalized environment.

Few books have caused as big a stir as John Steinbeck's The Grapes of Wrath , when it was published in April 1939. By May, it was the nation's No. 1 bestseller, flying off store shelves at a rate of 10,000 copies a week. But in Kern County, California,the Joads' newfound home,the book was burned publicly and banned from library shelves. Obscene in the Extreme tells the remarkable story behind that fit of censorship, a moment when several lives collided as part of a larger class struggle roiling the nation. It is a superb historical narrative that serves as an engaging window into an extraordinary time of upheaval in America, when as Steinbeck put it, A revolution is going on."

This book deals with the entertainment industries and their engagement in widespread marketing of violent movies, music, and electronic games to children that is inconsistent with the cautionary messages of their own parental advisories and that undermines parents' attempts to make informed decisions about their children's exposure to violent content.

In Dirt for Art's Sake, Elisabeth Ladenson recounts the most visible of modern obscenity trials involving scandalous books and their authors. What, she asks, do these often-colorful legal histories have to tell us about the works themselves and about a changing cultural climate that first treated them as filth and later celebrated them as masterpieces?

Ladenson's narrative starts with Madame Bovary (Flaubert was tried in France in 1857) and finishes with Fanny Hill (written in the eighteenth century, put on trial in the United States in 1966); she considers, along the way, Les Fleurs du Mal, Ulysses, The Well of Loneliness, Lady Chatterley's Lover, Tropic of Cancer, Lolita, and the works of the Marquis de Sade. Over the course of roughly a century, Ladenson finds, two ideas that had been circulating in the form of avant-garde heresy gradually became accepted as truisms, and eventually as grounds for legal defense. The first is captured in the formula "art for art's sake" the notion that a work of art exists in a realm independent of conventional morality. The second is realism, vilified by its critics as "dirt for dirt's sake." In Ladenson's view, the truth of the matter is closer to dirt for art's sake "the idea that the work of art may legitimately include the representation of all aspects of life, including the unpleasant and the sordid.

Ladenson also considers cinematic adaptations of these novels, among them Vincente Minnelli's Madame Bovary, Stanley Kubrick's Lolita and the 1997 remake directed by Adrian Lyne, and various attempts to translate de Sade's works and life into film, which faced similar censorship travails. Written with a keen awareness of ongoing debates about free speech, Dirt for Art's Sake traces the legal and social acceptance of controversial works with critical acumen and delightful wit."

In this gracefully written, accessible and entertaining volume, John Semonche surveys censorship for reasons of sex from the nineteenth century up to the present. He covers the various forms of American media-books and periodicals, pictorial art, motion pictures, music and dance, and radio, television, and the Internet. The tale is varied and interesting, replete with a stock of colorful characters such as Anthony Comstock, Mae West, Theodore Dreiser, Marcel Duchamp, Opie and Anthony, Judy Blume, Jerry Falwell, Alfred Kinsey, Hugh Hefner, and the Guerilla Girls. Covering the history of censorship of sexual ideas and images is one way of telling the story of modern America, and Semonche tells that tale with insight and flair. Despite the varieties of censorship, running from self-censorship to government bans, a common story is told. Censorship, whether undertaken to ward off government regulation, to help preserve the social order, or to protect the weak and vulnerable, proceeds on the assumption that the censor knows best and that limiting the choices of media consumers is justified. At various times all of the following groups were perceived as needing protection from sexually explicit materials: children, women, the lower classes, and foreigners. As social and political conditions changed, however, the simple fact that someone was a woman or a day laborer did not support stereotyping that person as weak or impressionable. What would remain as the only acceptable rationale for censorship of sexual materials was the protection of children and unconsenting adults. For each mode of media, Semonche explains via abundant examples how and why censorship took place in America. Censoring Sex also traces the story of how the cultural territory contested by those advocating and opposing censorship has diminished over the course of the last two centuries. Yet, Semonche argues, the censorship of sexual materials that continues in the United States poses a challenge to the free speech that is part of the f

In the first comprehensive picture of Soviet literary censorship, Herman Ermolaev highlights the aims of censorship and its evolution during shifts in Communinist Party policy. He draws on a great variety of primary and secondary sources, including over 200 literary works; the Soviet government's decrees on censorship and publishing; books and articles on censorship; political and historical writings; and personal correspondences with writers, editors, and a former high-ranking Glavlit official. Censorship in Soviet Literature will interest scholars of Soviet literature, politics, history, and culture and provides an excellent reference on Soviet literary censorship.

Most Americans tend to view censorship as a repressive aspect of other societies or historical eras, one that touches on our lives only in relation to national security or certain cold war considerations. In this provocative history of censorship, Sue Curry Jansen challenges conventional thought with a bold new view: that censorship, an embodiment of the relationship between power and knowledge, is as much a feature of liberal, market societies as it is of totalitarianisms. Building on an analytic tradition laid out by such thinkers as Marcuse and Foucault, Jansen addresses the notion of "market censorship" and shows how the marketplace has become an arena for liberal "power-knowledge." She also analyzes Marx's critique of bourgeois censorship, examines censorship at various levels of Soviet society, and takes an incisive look at economic censorship within our own capitalist nation. The book concludes with a discussion on strategies of resistance to this powerful, and indeed universal, form of social control.