The British Board of Film Censors and content control in the 1930s: images of Britain

NOTES AND REFERENCES

• Taylor , A.J.P. 1970 . English History 1914–1945 , 392 – 392 . Penguin : Harmondsworth .
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• Pronay , N. 1971 . British newsreels in the 1930's: audience and producers . History , 56 : 411 – 418 . Cf. also Aldgate, A. (1979) Cinema and History, pp. 54–64 (London).
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• The best account of the development of censorship in Britain is Hunnings N.M. Film Censors and the Law London 1967
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• Pronay , N. 1981 . “ The first reality: film censorship in liberal England ” . In Feature Film as History , Edited by: Short , K.R.M. London : Croom Helm .
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• Quoted in Davy C. Footnotes to the Film London 1938 267 267
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• Montagu , I. 1929 . The Political Censorship of Films 4 – 4 . London
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• On the problems facing film societies, see Knowles D. The Censor, the Drama and the Film London 1934 186 196 Hardy, F. (1938) Censorship and film societies, in: Davy, C. (Ed.) Footnotes to the Film, pp. 264–278 (London); Duckworth, L.B. (1930) It rests with the local authorities, Closeup, 6, pp. 272–277. On workers' film societies, see Macpherson, D. (Ed.) (1980) Traditions of Independence, pp. 96–125 (London). On the problems of newsreels, see Hunnings, N.M., op. cit., pp. 109–113; Aldgate, A., op. cit., pp. 77–90; Pronay, N. (1972) British Newsreels in the 1930's: their policies and impact, History, 57, pp. 63–72; Lewis, J. (1977) Before hindsight, Sight and Sound, 46, pp. 68–73.
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• Knowles , D. The Censor, the Drama and the Film 269 – 270 .
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• They are reprinted in Hunnings N.M. Traditions of Independence 408 409
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• Quoted in Field A. Picture Palace: a social history of the cinema London 1974 119 119
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• B.B.F.C. 1929 . Annual Reports , : 10 – 10 . (1931), 9; (1935), 8; (1936), 8–9.
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• Hansard , 264 1153 – 1155 . columns
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• Commission on educational and cultural films, The Film in National Life London 1932 35 40 Field, A., op. cit., pp. 105–122; Ford, R. (1939) Children in the Cinema (London).
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• The Film in National Life , 34 – 34 .
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• Knowles , D. The Film in National Life , 197 – 197 .
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• Rotha , P. 1973 . Documentary Diary 164 – 170 . London
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• On the problems facing film societies, see Knowles D. The Censor, the Drama and the Film London 1934 186 196
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• Hansard , 342 1261 – 1320 . columns
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• 1939 . The Cine-Technician , 4 January/February : 144 – 144 .
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• 1936 . World Film News , 1 ( 5 ) August : 9 – 9 .
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• Rotha , P. World Film News , 166 – 166 .
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• Montagu , I. World Film News , 14 – 14 .
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• 1939 . The Cine-Technician , 4 January/February : 144 – 144 .
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• B.B.F.C. 1936 . Annual Report , 6
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• B.B.F.C. 1937 . Annual Report , 7
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• The Times August 1929 10 26 August 1929; 28 August 1929.
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• Hansard , 264 1153 – 1155 . columns
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• Pronay , N. “ The First Reality: film censorship in Liberal England ” . In Feature Film as History , Edited by: Short , K.R.M. London : Croom Helm .
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• B.B.F.C. 1931 . Annual Reports , : 11 – 11 . (1932), 8; (1933), 11.
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• Mander , R. and Mitchenson , J. 1957 . Theatrical Companion to Coward 71 – 71 . London
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• Brunel , A. 1949 . Nice Work 130 – 131 . London
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• The others were Race Suicide 1938/50 Maternité (1933/238); The Stag (1930/15).
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• The films were No Funny Business 1933/111 Divorce (1933/156), Holy Deadlock (1934/288) and Divorce for Crystabel (1936/26).
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• Holy Deadlock 1934/288 was submitted on 11 April 1934 11 December 1934 (1934/366), 7 April 1936 (1936/50), 24 August 1937 (1937/97) and 28 December 1938 (1938/90).
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• Extracts from the leaflet Censorship in Great Britain are printed as appendixl C to Montagu I. The Political Censorship of Films 30 33
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• Nolan , J.E. 1967 . Edgar Wallace . Films in Review , 18 : 71 – 85 .
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• The films were The Man Who Knew Too Much 1934/295 The Ends of Justice (1935/473); Sin Fang (1937/45); The Man Who Sold Death (1935/485); House of a Thousand Windows (1936/117). With the offending elements modified, three of these films were in fact produced and released, The Man Who Knew Too Much, Sin Fang and House of a Thousand Windows (retitled Crime Over London).
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• The films were The Masquerader 1932/79 The Ivory Chair (1932/103); It Looks Like Snow (1933/112); At the Blue Café (1933/125); Limehouse (1934/259); Java Head (1934/282); Which of Them? (1934/292); Broken Blossoms (1935/422); The Case of the Green Canoe (1935/451); Light-fingered Ladies (1935/496); Wax (1936/1); The Great Prince Quong (1937/21); A.S.F. (1938/49); and Drugs (1938/91). After cuts and modifications, The Masquerader, Java Head and Broken Blossoms were filmed and released.
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• Harley , J.E. 1940 . World-Wide Influences of the Cinema 139 – 139 . Los Angeles
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• Montagu , I. World-Wide Influences of the Cinema 30 – 33 .
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• Davy , C. , ed. 1938 . Footnotes to the Film 141 – 141 . London
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• Wilcox , H. 1967 . 25,000 Sunsets 111 – 111 . London
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• Her films are analysed in Richards J. Gracie Fields—the Lancashire Britannia Focus on Film 1979 33 27 35 34, pp. 23–38.
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• 1937 . World Film News , 2 ( 5 ) August : 4 – 4 .
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• Winnington , R. Drawn and Quartered 123 – 123 . London no date
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