The Miracle Case: Film Censorship and the Supreme Court
The impact of the Miracle case on the institution of prior censorship is an oft-told tale. This version is enlivened with fresh insights into the issues and vivid portraits of the players who pressed and heard the case. But more could have been said about the art film market, which spawned the censo...
| Main Author: | |
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| Format: | Electronic Review |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
2009
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| In: |
A journal of church and state
Year: 2009, Volume: 51, Issue: 2, Pages: 376-378 |
| Review of: | The Miracle case (Lawrence, Kan : University Press of Kansas, 2008) (Balio, Tino)
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| Further subjects: | B
Book review
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| Online Access: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a The impact of the Miracle case on the institution of prior censorship is an oft-told tale. This version is enlivened with fresh insights into the issues and vivid portraits of the players who pressed and heard the case. But more could have been said about the art film market, which spawned the censorship battles, and the impact of these cases on production trends of the time. The hero is Joseph Burstyn, a small-time foreign film distributor who released Roberto Rossellini's The Miracle in 1950 as part of a trilogy of short films entitled Ways of Love. The Miracle had been passed by the New York State censors and had opened to good reviews at the Paris Theater in New York. Soon after, it was denounced by Catholics as “sacrilegious” and its exhibition license revoked by a city commissioner. | ||
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