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Shades of Film Censorship

Gender Bias From the Hays Code to MPAA Ratings

Bibliographic Data

ID12918261
AuthorsChloé Nurik (0000-0002-5403-4754, 3620 Walnut Street, Philadelphia, PA, USA, corresponding author)
Year2018
Volume11
Issue4
Pages530-547
Publication date2018-08-26
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueCommunication Culture and Critique (JOURNAL)
Journal identifiersISSN: 1753-9137 • E-ISSN: 1753-9129
PublisherOxford University Press (OUP) (PUBLISHER)
DOI10.1093/ccc/tcy024
OpenAlexW2894737381
LanguageEN
Citations received1
References cited24

Using historical censorship records, industry publications, and interviews with film raters, this article reveals the evolution of gender bias in film regulation. This article asserts that film ratings in the current era repress images of agentive sexuality and pleasure-seeking for women. First, this article examines cinematic treatment of gender and sexuality during the Hays Code. Next, the transition to film ratings is analyzed with respect to its governing ideology and economic effects. Blue Valentine (2010), Charlie Countryman (2013), and The Cooler (2003) are used as case studies to illustrate film ratings’ regressive management of gender dynamics. Lastly, suggestions for maintaining freedom of expression while ensuring more equitable portrayals of women are proposed

Censorship · Code (set theory · Human sexuality · Ideology · Pleasure · Political science · Politics · Sociology · Cinema and Media Studies · Computer Science · European history and politics · Media Studies and Communication · Psychology · Gender Studies · Law · Social Psychology

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Unique citing works1
Citations per year0,25
Citation span2022 - 2022 (1)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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