By Ronald Holloway
E-book by means of Holloway, Ronald
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Additional info for Beyond the Image: Approaches to the Religious Dimension in the Cinema
This is where dialogue between the theologian and the filmmaker plays an important role. Tenth, classification and censorship of films by religious bodies seldom reach the goals they are intended for. A positive approach to the cinema founded on education wins more converts to a good cause than a negative one directed toward prevention. Just as the filmmaker should be granted the freedom of integrity, so should the potential viewer be allowed the liberty of his own conscience. III. FROM THE PASSION PLAY TO INTOLERANCE The nineteenth century found the rationalism of the previous age rapidly disappearing into a compromise with Christianity.
Everything expressly prohibited in the Production Code apparently is to be approved, one way or another. The editor's angry feelings can be readily understood in light of the fact that his father, Martin Quigley, was the co-author of the original code. " A few side comments are in order on the subject of the industry's desire for self-regulation. Ostensively, the MPA has made a good showing of wanting to police itself but it goes little beyond that. When Otto Preminger released The Moon Is Blue (1953) and The Man With 38 BEYOND THE IMAGE the Golden Arm (1955) without code approval, he benefitted financially from the notoriety the films caused.
A passionate, rigid puritanism spread like fire in England between 1830 and 1850, dedicated to penny-pinching and a war on liquor. The outer expression of this puritanism was the "temperance revolution," which was subsequently to have more success in America than in England. Its inner expression was a dogmatic, sentimental and obsessive preoccupation with virtue and sin, a self-righteousness equating fine manners with morality. Historian J. H. Plumb's assertion that at the core of Victorian morality stood a fear of sex, which it refused to accept in resolutely pursuing purity and respectability, aptly explains why Victorianism disguised its failures either by taking refuge in silence or by resorting to the double standard.