Suchergebnisse

Intro -- Banned in Kansas -- Contents -- Preface -- Acknowledgments -- One Progressivism and the New Medium of Film -- Two Kansas and the Fight over Motion Picture Censorship -- Three "We Can Hardly Make Any Definite Rules" The Difficulty of Censorship as Practice, 1915 -- Four The Birth of a Nation and Kansas -- Five The Battle Lines Are Drawn, 1916-1917 -- Six World War I and the Struggle against Sin, 1917-1919 -- Seven The Roaring Twenties, 1920-1927 -- Eight The Challenge of Sound, 1928-1934 -- Nine An Age of Maturity? 1934-1948 -- Ten The Moon Is Blue over Kansas, 1948-1954 -- Eleven Jane Russell, Brigitte Bardot, and Ephraim London as the Enemy, 1954-1959 -- Twelve The Final Years of Film Censorship, 1960-1966 -- Conclusion -- Appendix Eliminations Made in Frankenstein (Universal) 8 Reels, Star: Colin Clive -- Bibliography -- Index.

The observed seasonality of box‐office revenues reflects both seasonality in underlying demand for movies and seasonality in the number and quality of available movies. I separately identify these aspects by estimating weekly demand for movies, using movie fixed effects, a long panel of movies' weekly revenues, and restrictions on their decay pattern. I find that the estimated seasonality in underlying demand is much smaller and slightly different from the observed seasonality of sales. The biggest movies are released at times when demand is highest, amplifying the underlying seasonality. Price rigidities in the industry may facilitate this amplification effect.

The Chinese Communist regime has used the film, along with other mass media, for propaganda and indoctrination purposes. It has completely nationalized facilities for production and showing of films, but rigid rules and taboos for movie-making have resulted in adverse reactions and shortcomings.