Adult Themes

Anne Etienne is Lecturer in Modern and Contemporary Drama at University College Cork, Ireland, and her research focuses on theatre censorship and Arnold Wesker. Benjamin Halligan is the Director of the Doctoral College of the University of Wolverhampton, UK, and his research focuses on film history, music and media, and critical theory. Christopher Weedman is Assistant Professor of English at Middle Tennessee State University, USA, where his research focuses on mid-twentieth century British and American cinema.

Acknowledgements

List of illustrations

Introduction: ‘Passed As Only Suitable for Exhibition to Adult Audiences: X’
Anne Etienne (University College Cork, Ireland), Benjamin Halligan (University of Wolverhampton, UK), and Christopher Weedman (Middle Tennessee State University, USA)

1. Green Penguin Films
Kim Newman (Independent Scholar)

2. The Commercial Idealism of Controversial Cinema: Raymond Stross and the Censorship of The Flesh Is Weak
Christopher Weedman (Middle Tennessee State University, USA)

3. Colour, Realism and the X Certificate: Horrors of the Black Museum and Peeping Tom
Sarah Street (University of Bristol, UK)

4. Mediating Desire: Karel Reisz’s Adaptation of Saturday Night and Sunday Morning
Simon Lee (Texas State University, USA)

5. Lolita, Censorship, and Controversy: The Archival Remains of the Dispute Between Canon L. J. Collins and Stanley Kubrick
James Fenwick (Sheffield Hallam University, UK)

6. Paternalism, Bohemianism, and the X Certificate: The Party’s Over and the Pre-Swinging Set
Kevin M. Flanagan (George Mason University, USA)

7. Mediatising Modernity: Femininity in the X-Rated Swinging London Film
Moya Luckett (Texas State University, USA)

8. What Are the X-Rated Secrets of the Windmill Girls?
Adrian Smith (Independent Scholar)

9. The Potent Sexuality of the Middle-Aged Woman: Alice Aisgill, Karen Stone, Zee Blakeley and Ruby
Lucy Bolton (Queen Mary University of London, UK)

10. Censoring Carmilla: Lesbian Vampires in Hammer Horror
Claire Henry (Massey University, Aotearoa New Zealand)

11. ‘The horror film to end all horror films’: 10 Rillington Place and the British Board of Film Censors’ Shifting Policy on True Crime
TimSnelson (University of East Anglia, UK)

12. Class and Classification: The British Board of Film Censors’ Reception of Horror at the Time of the Festival of Light
Benjamin Halligan (University of Wolverhampton, UK)

Contributors

Index