Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium. He is the (co-)editor of several volumes on cinema audiences and censorship. In 2020 he published a monograph on the history of film/cinema censorship in Belgium, Verboden Beelden, and made a documentary with Bruno Mestdagh on film cuttings (Ongezien/invisible, 2020, Cinematek).Ernest Mathijs is Professor of Cinema and Media Studies at the University of British Columbia, Vancouver. He has written on cult cinema, the reception of Canadian and European genre cinema, The Lord of the Rings, reality-TV, Thomas Pynchon, and on Delphine Seyrig. In 2020 he co-wrote the two-part documentary The Quiet Revolution.

The Screen Censorship Companion provides an engaging overview of historical and contemporary censorship, effectively balances New Censorship Theory and recognition of the realities of institutional censorship and provides several starting points for future research.

• Cinema, Screen Media and Censorship: An Introduction Daniel Biltereyst and Ernest Mathijs DOI:10.47788/RSDL45201. ‘Forestalling Controversy’: The Production Code Administration and the Mediation of Political Censorship Richard Maltby DOI:10.47788/AJXR25572. A Philosovietic Mode of Film Censorship: A Supplement to Studies of Cold War Italian Film Culture Karol Jóźwiak DOI:10.47788/HHUW84633. Censorship of Foreign Films in People’s Poland in the Late 1960s and Early 1970s: A Case Study of Films about Hippie Subculture Konrad Klejsa DOI:10.47788/MWLP40974. Sex, Drugs, Violence and/or Nudity: Differences in Film Age Rating Practices and Rationales in Denmark, France, Japan, Norway and the UK Elisabeth Staksrud and Marita Eriksen Haugland DOI:10.47788/FTMX26115. The Last Convulsions of Democracy: Wolfgang Petzet’s Pamphlet Verbotene Filme and the Censorship Debate at the Close of the Weimar Republic Viola Rühse DOI:10.47788/ODXR87766. Party Apparatchiks as Filmmakers: The Film Approval Commissions in Communist Poland, 1955–1970 Mikołaj Kunicki DOI:10.47788/SNGT21357. Majors, Adults, Sex and Violence: Film Censorship under Military Dictatorship in Chile, 1973–1989 Jorge Iturriaga Echeverría DOI:10.47788/NOXF98298. Fighting for a Free Cinema in a Country That Is Not Free: Film Censorship Abolitionism in Argentina (1978–1983) Fernando Ramírez Llorens DOI:10.47788/XCJE58629. Censorship, Criticism and Notions of Quality in Post-War French Cinema Daniel Morgan DOI:10.47788/RFGD351510. Hopes and Fears of Transformation: FOCINE and Informal Practices of Film Censorship in Colombia (1978–1993) Karina Aveyard and Karol Valderrama-Burgos DOI:10.47788/BEZG452911. State Censorship of Debut Films in the 1980s People’s Republic of Poland: The Example of the Irzykowski Film Studio Emil Sowiński DOI:10.47788/SVEO224012. Banned in Detroit: The Interconnectedness of Film, Literary and Media Censorship Ben Strassfeld DOI:10.47788/HBSC182413. Splicing Back against the Censors: How Archive/ Counter-Archive Saved the Ontario Board of Censors’ Film Censorship Records from Destruction Michael Marlatt DOI:10.47788/XLVW238814. Italian Film Censorship (1948–1976): A Quantitative Analysis Mauro Giori and Tomaso Subini DOI:10.47788/HIIB378015. Historicizing the Censor: Path-Dependent Patterns of Film Censorship in Turkey İlke Şanlıer and Aydın Çam DOI:10.47788/PRKT559616. Don’t Be Afraid, It’s Only Business: Rethinking the Video Nasties Moral Panic in Thatcher’s Britain Mark McKenna DOI:10.47788/GTGZ866817. The Ontario Film Review Board Meets the New French Extremity Daniel Sacco DOI:10.47788/HJES611618. Invisible Censors, Opaque Laws and Surveilled Subjects Julian Petley DOI:10.47788/EUHI236619. What Is a Hard Core? Obscenity, Pornography and Censorship Linda Williams DOI:10.47788/TMRX1263

Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium. He is the (co-)editor of several volumes on cinema audiences and censorship. In 2020 he published a monograph on the history of film/cinema censorship in Belgium, Verboden Beelden, and made a documentary with Bruno Mestdagh on film cuttings (Ongezien/invisible, 2020, Cinematek).Ernest Mathijs is Professor of Cinema and Media Studies at the University of British Columbia, Vancouver. He has written on cult cinema, the reception of Canadian and European genre cinema, The Lord of the Rings, reality-TV, Thomas Pynchon, and on Delphine Seyrig. In 2020 he co-wrote the two-part documentary The Quiet Revolution.

The Screen Censorship Companion provides an engaging overview of historical and contemporary censorship, effectively balances New Censorship Theory and recognition of the realities of institutional censorship and provides several starting points for future research.

• Cinema, Screen Media and Censorship: An Introduction Daniel Biltereyst and Ernest Mathijs DOI:10.47788/RSDL45201. ‘Forestalling Controversy’: The Production Code Administration and the Mediation of Political Censorship Richard Maltby DOI:10.47788/AJXR25572. A Philosovietic Mode of Film Censorship: A Supplement to Studies of Cold War Italian Film Culture Karol Jóźwiak DOI:10.47788/HHUW84633. Censorship of Foreign Films in People’s Poland in the Late 1960s and Early 1970s: A Case Study of Films about Hippie Subculture Konrad Klejsa DOI:10.47788/MWLP40974. Sex, Drugs, Violence and/or Nudity: Differences in Film Age Rating Practices and Rationales in Denmark, France, Japan, Norway and the UK Elisabeth Staksrud and Marita Eriksen Haugland DOI:10.47788/FTMX26115. The Last Convulsions of Democracy: Wolfgang Petzet’s Pamphlet Verbotene Filme and the Censorship Debate at the Close of the Weimar Republic Viola Rühse DOI:10.47788/ODXR87766. Party Apparatchiks as Filmmakers: The Film Approval Commissions in Communist Poland, 1955–1970 Mikołaj Kunicki DOI:10.47788/SNGT21357. Majors, Adults, Sex and Violence: Film Censorship under Military Dictatorship in Chile, 1973–1989 Jorge Iturriaga Echeverría DOI:10.47788/NOXF98298. Fighting for a Free Cinema in a Country That Is Not Free: Film Censorship Abolitionism in Argentina (1978–1983) Fernando Ramírez Llorens DOI:10.47788/XCJE58629. Censorship, Criticism and Notions of Quality in Post-War French Cinema Daniel Morgan DOI:10.47788/RFGD351510. Hopes and Fears of Transformation: FOCINE and Informal Practices of Film Censorship in Colombia (1978–1993) Karina Aveyard and Karol Valderrama-Burgos DOI:10.47788/BEZG452911. State Censorship of Debut Films in the 1980s People’s Republic of Poland: The Example of the Irzykowski Film Studio Emil Sowiński DOI:10.47788/SVEO224012. Banned in Detroit: The Interconnectedness of Film, Literary and Media Censorship Ben Strassfeld DOI:10.47788/HBSC182413. Splicing Back against the Censors: How Archive/ Counter-Archive Saved the Ontario Board of Censors’ Film Censorship Records from Destruction Michael Marlatt DOI:10.47788/XLVW238814. Italian Film Censorship (1948–1976): A Quantitative Analysis Mauro Giori and Tomaso Subini DOI:10.47788/HIIB378015. Historicizing the Censor: Path-Dependent Patterns of Film Censorship in Turkey İlke Şanlıer and Aydın Çam DOI:10.47788/PRKT559616. Don’t Be Afraid, It’s Only Business: Rethinking the Video Nasties Moral Panic in Thatcher’s Britain Mark McKenna DOI:10.47788/GTGZ866817. The Ontario Film Review Board Meets the New French Extremity Daniel Sacco DOI:10.47788/HJES611618. Invisible Censors, Opaque Laws and Surveilled Subjects Julian Petley DOI:10.47788/EUHI236619. What Is a Hard Core? Obscenity, Pornography and Censorship Linda Williams DOI:10.47788/TMRX1263

Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium. He is the (co-)editor of several volumes on cinema audiences and censorship. In 2020 he published a monograph on the history of film/cinema censorship in Belgium, Verboden Beelden, and made a documentary with Bruno Mestdagh on film cuttings (Ongezien/invisible, 2020, Cinematek).Ernest Mathijs is Professor of Cinema and Media Studies at the University of British Columbia, Vancouver. He has written on cult cinema, the reception of Canadian and European genre cinema, The Lord of the Rings, reality-TV, Thomas Pynchon, and on Delphine Seyrig. In 2020 he co-wrote the two-part documentary The Quiet Revolution.

The Screen Censorship Companion provides an engaging overview of historical and contemporary censorship, effectively balances New Censorship Theory and recognition of the realities of institutional censorship and provides several starting points for future research.

• Cinema, Screen Media and Censorship: An Introduction Daniel Biltereyst and Ernest Mathijs DOI:10.47788/RSDL45201. ‘Forestalling Controversy’: The Production Code Administration and the Mediation of Political Censorship Richard Maltby DOI:10.47788/AJXR25572. A Philosovietic Mode of Film Censorship: A Supplement to Studies of Cold War Italian Film Culture Karol Jóźwiak DOI:10.47788/HHUW84633. Censorship of Foreign Films in People’s Poland in the Late 1960s and Early 1970s: A Case Study of Films about Hippie Subculture Konrad Klejsa DOI:10.47788/MWLP40974. Sex, Drugs, Violence and/or Nudity: Differences in Film Age Rating Practices and Rationales in Denmark, France, Japan, Norway and the UK Elisabeth Staksrud and Marita Eriksen Haugland DOI:10.47788/FTMX26115. The Last Convulsions of Democracy: Wolfgang Petzet’s Pamphlet Verbotene Filme and the Censorship Debate at the Close of the Weimar Republic Viola Rühse DOI:10.47788/ODXR87766. Party Apparatchiks as Filmmakers: The Film Approval Commissions in Communist Poland, 1955–1970 Mikołaj Kunicki DOI:10.47788/SNGT21357. Majors, Adults, Sex and Violence: Film Censorship under Military Dictatorship in Chile, 1973–1989 Jorge Iturriaga Echeverría DOI:10.47788/NOXF98298. Fighting for a Free Cinema in a Country That Is Not Free: Film Censorship Abolitionism in Argentina (1978–1983) Fernando Ramírez Llorens DOI:10.47788/XCJE58629. Censorship, Criticism and Notions of Quality in Post-War French Cinema Daniel Morgan DOI:10.47788/RFGD351510. Hopes and Fears of Transformation: FOCINE and Informal Practices of Film Censorship in Colombia (1978–1993) Karina Aveyard and Karol Valderrama-Burgos DOI:10.47788/BEZG452911. State Censorship of Debut Films in the 1980s People’s Republic of Poland: The Example of the Irzykowski Film Studio Emil Sowiński DOI:10.47788/SVEO224012. Banned in Detroit: The Interconnectedness of Film, Literary and Media Censorship Ben Strassfeld DOI:10.47788/HBSC182413. Splicing Back against the Censors: How Archive/ Counter-Archive Saved the Ontario Board of Censors’ Film Censorship Records from Destruction Michael Marlatt DOI:10.47788/XLVW238814. Italian Film Censorship (1948–1976): A Quantitative Analysis Mauro Giori and Tomaso Subini DOI:10.47788/HIIB378015. Historicizing the Censor: Path-Dependent Patterns of Film Censorship in Turkey İlke Şanlıer and Aydın Çam DOI:10.47788/PRKT559616. Don’t Be Afraid, It’s Only Business: Rethinking the Video Nasties Moral Panic in Thatcher’s Britain Mark McKenna DOI:10.47788/GTGZ866817. The Ontario Film Review Board Meets the New French Extremity Daniel Sacco DOI:10.47788/HJES611618. Invisible Censors, Opaque Laws and Surveilled Subjects Julian Petley DOI:10.47788/EUHI236619. What Is a Hard Core? Obscenity, Pornography and Censorship Linda Williams DOI:10.47788/TMRX1263