Museum of Resistance and Resilience Main MenuPraxis #1: Curation and Annotation (Group Project)details of Praxis #1 assignmentPraxis #1.1 War, Memory, And Identity: Beyond Victims and Voice Museum of Resistance and ResilienceProfessor Marjory Wentworth Honor's Class at College of CharlestonPraxis #2 Media Intervention, Multimedia Essay (Individual Project)Entry 2 in our Museum of Resistance and ResiliencePraxis #3 Manifesto of Future Resistance and ResilienceMedia Intervention/Media PostsFinal Course Reflection - A Letter to the FutureDue November 18Vicki Callahanf68c37bed83f129872c0216fae5c9d063d9e11baLisa Müller-Tredecc71af55f5122020f2b95396300e25feb73b6995
Film Censorship:
12020-09-23T14:15:33-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942377843plain2020-09-23T14:24:38-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942In 1922, a number of film scandals involving actors prompted the creation of the Hays Office, a motion picture committee in charge of inserting moral clauses into actors’ contracts, which gave studios the authority to fire actors if they became entangled in any act that could offend public morals, as well as developing the Motion Picture Production Code, which prohibited any controversial film material that went against social values (The Editors of Encyclopaedia Britannica, 2009). This meant that the more liberal industry people in Hollywood needed to be discreet with any queer connotations or gender deviancy themes that they included in their films – "Morocco" (1930) was one of these films.
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1media/exhdi8-wr_thumb.jpg2020-09-23T14:13:41-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942Marlene Dietrich4A still of Marlene Dietrich in "Morocco" (1930). SOURCE: Marlene Dietrich in "Morocco", Eugene Robert Richee, 1930. Marlene Dietrich Collection, Berlin. Sourced from Smithsonian Magazine.media/exhdi8-wr.jpgplain2020-09-23T15:15:22-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942