Wittern Keller Laura (26 results)

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

paperback. Condition: Very Good.

Condition: New.

Condition: New. Brand New.

Condition: As New. Unread book in perfect condition.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,400grams, ISBN:9780700616190.

Paperback. Condition: Brand New. 233 pages. 8.25x5.50x0.50 inches. In Stock.

Paperback. Condition: new. Paperback. It was only a forty-minute foreign film, but it sparked a legal confrontation that has left its mark on America for more than half a century. Roberto Rossellini's ""Il Miracolo"" (""The Miracle"") is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood.Although initially approved by state censors for screening in New York, the film was attacked as sacrilegious by the Catholic establishment, which convinced state officials to revoke distributor Joseph Burstyn's license. In response, Burstyn fought back through the courts and won.Laura Wittern-Keller and Raymond Haberski show how the Supreme Court's unanimous 1952 ruling in Burstyn's favor sparked a chain of litigation that eventually brought filmmaking under the protective umbrella of the First Amendment, overturning its long-outdated decision in Mutual v. Ohio (1915). Their story features a more formidable cast than did the film itself, with the charismatic Francis Cardinal Spellman decrying the film as a Communist plot, while outspoken film critic Bosley Crowther vigorously advocated ""freedom of the screen."" Meanwhile, movie producers stood by silently for fear of alienating the Church and its large movie-going membership, leaving Burstyn to muster his own defense.More than the inside story of one case, this book explores the unique place that the movies occupy in American culture and the way that culture continues to be shaped by anxiety over the social power of movies. The Burstyn decision weakened the ability of state censorship boards and the Catholic Church to influence the types of films Americans were allowed to see. Consequently, the case signaled the rise of a new era in which films would be more mature and more controversial than ever before.Focusing on this single most important case in the jurisprudence surrounding motion picture expression, Wittern-Keller and Haberski add a significant new dimension to the story of cinema, censorship, and the history of First Amendment protections. Roberto Rossellini's ""Il Miracolo"" is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood. This book explores the unique place that the movies occupy in American culture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Hardcover. Condition: new. Hardcover. Between 1907 and 1980, many state and local governments empowered motion picture censor boards with the legal authority to keep any movie they considered obscene, indecent, or harmful from being shown. Although the mainstream American film industry accepted the form of censorship known as "prior restraint," the independent distributors and exhibitors challenged the government censors in court. In Freedom of the Screen, Laura Wittern-Keller tells the story of those who fought prior restraint on movies. By drawing attention to this inequity -- film was the only medium so constricted by the 1950s -- the distributors pushed a reluctant judiciary to square its interpretation of movie expression with the rights of other media. As these legal interpretations gradually became more sympathetic to artistic freedom -- largely because of the independent distributors' lawsuits -- Hollywood was free to discard its outmoded restraints and deliver provocative, relevant movies to American audiences. Between 1907 and 1980, many state and local governments empowered motion picture censor boards with the legal authority to keep any movie they considered obscene, indecent, or harmful from being shown. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Fine. First Edition. (no dust jacket) [a nice as-new book, lacking the dust jacket but unmarked and with no discernible wear]. A history of film censorship in America from the silent film era through the 1970s. Unlike many works in this field, which tend to focus on the establishment, growth and eventual breakdown of the Hollywood-centric Production Code Administration (supplanted in the 1960s by the modern Code and Rating Administration), this examines the history from the perspective of various censorship battles that were fought against censorship entities in various states of the nation -- which is really where the action was, legally speaking, as it was the legislation enacted by individual state or municipal authorities where many of the important front-line skirmishes took place.

Condition: New.

Condition: As New. Unread book in perfect condition.

paperback. Condition: New. Special order direct from the distributor.

Paperback. Condition: New.

Paperback. Condition: Brand New. 233 pages. 8.25x5.50x0.50 inches. In Stock.

Condition: New.

Hardcover. Condition: New.

Condition: New.

OLwd. m. geprägtem Rückentitel u. OU. Gr.8°, XI, 356 S. OU etw. gebrauchsspurig, allg. tadellos. Erstausgabe.

Gebunden. Condition: New. &Uumlber den AutorLaura Wittern-Keller is visiting assistant professor of history and public policy at the University at Albany (SUNY) and the recipient of the New York State Archives Award for Excellence in Research. She also lives in .

Paperback. Condition: new. Paperback. It was only a forty-minute foreign film, but it sparked a legal confrontation that has left its mark on America for more than half a century. Roberto Rossellini's ""Il Miracolo"" (""The Miracle"") is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood.Although initially approved by state censors for screening in New York, the film was attacked as sacrilegious by the Catholic establishment, which convinced state officials to revoke distributor Joseph Burstyn's license. In response, Burstyn fought back through the courts and won.Laura Wittern-Keller and Raymond Haberski show how the Supreme Court's unanimous 1952 ruling in Burstyn's favor sparked a chain of litigation that eventually brought filmmaking under the protective umbrella of the First Amendment, overturning its long-outdated decision in Mutual v. Ohio (1915). Their story features a more formidable cast than did the film itself, with the charismatic Francis Cardinal Spellman decrying the film as a Communist plot, while outspoken film critic Bosley Crowther vigorously advocated ""freedom of the screen."" Meanwhile, movie producers stood by silently for fear of alienating the Church and its large movie-going membership, leaving Burstyn to muster his own defense.More than the inside story of one case, this book explores the unique place that the movies occupy in American culture and the way that culture continues to be shaped by anxiety over the social power of movies. The Burstyn decision weakened the ability of state censorship boards and the Catholic Church to influence the types of films Americans were allowed to see. Consequently, the case signaled the rise of a new era in which films would be more mature and more controversial than ever before.Focusing on this single most important case in the jurisprudence surrounding motion picture expression, Wittern-Keller and Haberski add a significant new dimension to the story of cinema, censorship, and the history of First Amendment protections. Roberto Rossellini's ""Il Miracolo"" is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood. This book explores the unique place that the movies occupy in American culture. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Taschenbuch. Condition: Neu. Neuware - Roberto Rossellini's 'Il Miracolo' is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood. This book explores the unique place that the movies occupy in American culture.

Hardcover. Condition: new. Hardcover. Between 1907 and 1980, many state and local governments empowered motion picture censor boards with the legal authority to keep any movie they considered obscene, indecent, or harmful from being shown. Although the mainstream American film industry accepted the form of censorship known as "prior restraint," the independent distributors and exhibitors challenged the government censors in court. In Freedom of the Screen, Laura Wittern-Keller tells the story of those who fought prior restraint on movies. By drawing attention to this inequity -- film was the only medium so constricted by the 1950s -- the distributors pushed a reluctant judiciary to square its interpretation of movie expression with the rights of other media. As these legal interpretations gradually became more sympathetic to artistic freedom -- largely because of the independent distributors' lawsuits -- Hollywood was free to discard its outmoded restraints and deliver provocative, relevant movies to American audiences. Between 1907 and 1980, many state and local governments empowered motion picture censor boards with the legal authority to keep any movie they considered obscene, indecent, or harmful from being shown. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.