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The first of its kind, Silencing Cinema brings together the key issues and authors in the field of film censorship research. Approaching censorship as a necessary mediating factor in discourses that govern the film industry and film culture allows for a discussion of cases of censorship that escape some of the more narrowly moralistic (or overly progressive) studies. Including essays by some of the best-known film historians working today, the book offers a state of the art of (historical) research on film censorship in major film production countries, including the US, the UK, Russia/S

Historians of the Third Reich generally view Ohm Krüger (Hans Steinhoff, 1940), an anti-British historical drama set during the Boer War, as a triumph of Nazi propaganda, yet the film's distribution and reception in German-occupied territories have never been studied in depth. By offering a detailed comparison between the German original and a substantively reedited, French-dubbed version produced in 1941 under the title Le Président Kruger, as well as a politically and economically contextualized analysis of the film's distribution and reception in occupied and Vichy France, this article questions the persuasive power traditionally ascribed to Ohm Krüger to draw broader conclusions about the complexities of exporting Nazi propaganda to foreign markets in the volatile context of the Second World War.

AbstractMost research on the relationship between film and nation‐building focuses on the content of films (the nation on the screen). Much less common is research on the structural organisation of the film sector (the nation beyond the screen). This article argues for a combined focus in order to gain deeper insight into the relationship between film and nation‐building. This is illustrated by a case study focusing on Flanders. The Flemish case shows that the relationship between film and nation‐building is dynamic and multiple. There is a clear evolution from a Belgian, French‐speaking film sector to a separate Flemish film sector. This process was stimulated by the coming of sound film in the early 1930s and by political developments towards more Flemish autonomy. But while Flemish nation‐building keeps growing to this day, the concept of 'Belgian cinema' has gained renewed relevance since the 2000s.