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Hollywood's Censor: Joseph I. Breen and the Production Code Administration Hardcover – November 2, 2007

ISBN-13: 978-0231143585 ISBN-10: 0231143583 Edition: First Edition

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Hollywood's Censor: Joseph I. Breen and the Production Code Administration + Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema; 1930-1934 + Hollywood Censored: Morality Codes, Catholics, and the Movies (Cambridge Studies in the History of Mass Communication)
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Product Details

  • Hardcover: 440 pages
  • Publisher: Columbia University Press; First Edition edition (November 2, 2007)
  • Language: English
  • ISBN-10: 0231143583
  • ISBN-13: 978-0231143585
  • Product Dimensions: 9.1 x 6.3 x 1.2 inches
  • Shipping Weight: 1.6 pounds (View shipping rates and policies)
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #1,579,396 in Books (See Top 100 in Books)

Editorial Reviews

From Publishers Weekly

In this comprehensive coverage of cinematic censorship, Doherty, a professor of American studies at Brandeis University, probes the power of Joseph I. Breen (1888–1965), head of Hollywood's puritanical Production Code Administration from 1934 to 1954, and along the way, he captures the clash of Catholic priests, Jewish moguls, visionary auteurs, studio hacks, hardnosed journalists and bluenosed agitators in pre-TV Tinseltown. Born in Philadelphia, the Irish-Catholic Breen was a journalist turned publicist. His successful marketing of a film documentary showing Catholic multitudes at the 1926 Eucharistic Congress catapulted his career. With powerful backers in his corner, the Catholics and the New Dealers, Breen tightened the screws: I am hopeful of doing something, to lessen, at least, the flow of filth, but I have no illusions about the problem. He ruled with an iron fist, altering scripts and deleting footage until Otto Preminger cracked the Code in 1953 with The Moon Is Blue. Amid an avalanche of anecdotes and fascinating movie lore are 60 illustrations (ads, posters, stills) and a copy of the 1956 Production Code. The 42 pages of bibliographic notes are evidence of the author's exhaustive research. Doherty writes with such wit and verve, bringing the past to life, that this scholarly study is also a very entertaining read. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review

Doherty writes with such wit and verve, bringing the past to life... a very entertaining read.

(Publishers Weekly)

Compelling, colorful, insightful, and nearly encyclopedic in detail, this book seems destined to become the definitive scholarly biography of Breen. Highly recommended.

(Library Journal)

[An] entertaining and rigorous biography of Breen.

(Ada Calhoun New York Times Book Review)

A fascinating read for anyone interested in American film history.

(Carol O'Sullivan Pittsburgh Post-Gazette)

[An] authoritative, entertaining, unexpectedly unnerving biography.

(Kenneth Turan Los Angeles Times)

[A] brilliant and absorbing new book.

(Gerald Peary The Phoenix)

Hollywood's Censor is a stinging portrait of a cultural strongman who made it his business to baby his fellow citizens.

(Dennis Drabelle Washington Post)

Written with controlled exuberance, and much wit.

(Scott Eyman Palm Beach Post)

A pleasure to read.

(Rob Hardy Commercial Dispatch)

An exemplary biography... Highly recommended.

(CHOICE)

More About the Author





A professor of American studies at Brandeis University, Thomas Doherty is a cultural historian with a special interest in Hollywood cinema. His undergraduate degree is from Gonzaga University, a small liberal arts college in Spokane, Washington, similar to Brandeis but with different religious holidays. After a two-year stint in the Peace Corps in South Korea, he entered graduate school at the University of Iowa, where he earned a Ph.D. in American studies in 1984. He came to Brandeis in 1990, after teaching in the division of humanities at Boston University. His most recent book is Hollywood and Hitler, 1933-1939 (2013), from Columbia University Press. He serves on the editorial board of Cineaste and edits the film review section for the Journal of American History. He and his wife, Sandra, a freelance editor and fierce Pittsburgh Steelers fan, live in Salem, Massachusetts.

Customer Reviews

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This book is not entirely bad, by any means.
margot
The whole book centers around Joseph Breen, his censorship office and his furious efforts to thwart movies.
A. M. Schmidt
It is also way too long, at 350 pages with very small print.
Mediaman

Most Helpful Customer Reviews

11 of 12 people found the following review helpful By R. Hardy HALL OF FAMETOP 500 REVIEWER on January 10, 2008
Format: Hardcover
According to _Liberty_ magazine in 1936, Joseph Ignatius Breen probably had "more influence in standardizing world thinking than Mussolini, Hitler or Stalin." Joseph who? Breen's name is lost to history. People who know something about Hollywood's history might know about the Hays Code, the now ridiculed moral standards Hollywood imposed on itself to keep the screen free of actors uttering words like "hell" or married couples using one bed. Will Hays had become president of the Motion Picture Producers and Distributors of America, but Breen became his second-in-command, the one to tighten the code and make the studios do things according to his strictly upright, strongly Catholic, moral view. In the surprisingly lively and entertaining _Hollywood's Censor: Joseph I. Breen & the Production Code Administration_ (Columbia University Press), Thomas Doherty, a professor of American Studies who has written extensively on movies and television, presents not just a biography of Breen, but a history of American movie censorship. Anyone who loves old films will be amused and exasperated by how much Breen succeeded in imposing his personal version of morality on the movies.

Breen, born in Philadelphia in 1888 and raised in parochial schools by the Jesuits, had been a journalist and diplomat. He gave the Hays Code teeth, and his Production Code was in force from 1930 to 1968, and at least in its early decades it was in force with few violations. It is fun to read how directors got around the Code, both by bargaining and by winking at the censorship in a way audiences could enjoy.
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5 of 6 people found the following review helpful By margot on July 5, 2013
Format: Paperback
This book is not entirely bad, by any means. When the author is awake and sentient, he provides a nice narrative of Hollywood pop-history. Unfortunately the narrative never coheres for more than a few pages at a time. The material is poorly edited and badly organized, full of misspellings, mis-identifications, fictionalized history, and awkward jump-cuts from one topic to another or one time-period to another.

The basic argument of the book is that the Breen Office used the power of the Catholic press and pulpit to sanitize popular films from the 1930s to the 1950s. The result is that movies were dumbed-down into treacly family fare like 'The Sound of Music,' with a disturbing number of singing priests and nuns. It's a fun argument, but a tendentious one. 'The Sound of Music' itself did not come out till long after the Breen era, and the Bing Crosby singing-priest flicks of the 40s and 50s were vastly outnumbered by seamy film noir offerings and Hitchcock thrillers. Finally, a preponderance of the all-time classic films, the favorites among the critics and public, were made during the Breen decades.

More to the point: the quality of American films didn't decline in 1934, it shot up immediately. Instead of tawdry and tiresome Clara Bow sex comedies, we got the suave sophistication of 'The Thin Man' and 'It Happened One Night' (both made just before the Code went into effect, but mainly within Code guidelines). When filmmakers could no longer use cheap tricks of soft-core-porn and sex innuendo to fill the nabes, they had to depend on things like good writing and authorial direction.

The Breen Office made for better movies, you better believe it.
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2 of 2 people found the following review helpful By Martin Turnbull on January 3, 2012
Format: Paperback
Any student of Hollywood and 20th century history will come across the name of Joseph Breen and the Breen Office regularly enough to know, in very general terms, who he was and what his office did (he was the head of the Production Code Admin office whose job it was to vet and censor all Hollywood product during its golden era-1930s to 1960s). But rarely do we get much more than a paragraph or two about the guy and the office which completely controlled the most powerful form of media in the most powerful country during its most powerful time. This book, long overdue in my opinion, takes you through what happened and when and why. I found that in reading this book, my understanding of developed in Hollywood over those years made much more sense.
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