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Judith Butler Introduction Censorship in film, art and media has been a complex and nourished discussion in the social sciences field; nonetheless the lack of understanding of the power relations involved in the processes of censorship makes really difficult to analyse the current practice of censorship in the contemporary era.
In that regard it is necessary to create interdisciplinary and comprehensive reflections that could deconstruct the censorship practices around the world. In that sense, I believe that there are three key categories to understand the censorship and its effects on contemporary contexts: The first one refers to a reflection about the theoretical discussions in relation to censorship; therefore I base my analysis on the foucaultian notion of body and the asymmetric power relations that configure the ambiguous discourse about what must be seen, shown and how is it supposed to be shown.
Discipline and punish: An approach for studying censorship practices What is censorship and how can we study it? If indeed, there is not a consensus about what is censorship; one of the most paradigmatic approaches to understand the practice of censorship in contemporary societies is the analysis of Michel Foucault with his brilliants notes on the power relations and its connection with social practices.
In History of Sexuality, Foucault talks about how an historical discourse with regard to the reproduction of hegemonic identities configures the contemporary body and its uses Foucault , 29 ; is just in that crossroad of assymetric power relations where I find a methodological tool to analyse the censorship in film, art and media. If a discourse of power is a discourse of the body, a comprehensive definition of censorship should be orientated to understand how the discourses of censure are configured by hegemonic regulations that supposedly determine how does the body must perceived, felt and seen.
Contrary to the Marxist thinking-that has a firm believing in censorship as an oppression tool of the state-; I argue that there are several reasons to think that censorship should not be thought as an oppression mechanism of the hegemonic thinking. In that regard, Judith Butler talks about the body and proposes a theoretical framework to think about the construction of the body and its implications with the social, political and cultural context, Butler argues that the body cannot be analysed as an assumed and signified category of the postmodern studies due to the materiality of the body is constantly constructed in the crossroad of gender and race issues.
Butler , The hegemony supposes that the regulatory ideal of the body is performed and reproduced by every individual in regional and global contexts Butler , ; nonetheless the constant emergence of alternate gender identities homosexualism, lesbianism p. Assuming that the power exercise comes from many different points, the censorship regulations and codes can be analysed as the state tool to impose their ideas about how the body and the gender identities are supposed to be lived.
According to Foucault, the main objective of regulations and legislations is punishing and guarding the strict hegemonic codes of morality and decency Foucault , Recover your password. Forgot your password? Get help. Home Censorship Understanding Censorship. Necessary Censorship vs. Unnecessary Censorship. Easy Guide to the 1st Amendment. It provides that programs that:. The Community Broadcasting Association of Australia represents community radio and television stations.
It has separate codes of practice for television and radio, both of which can be downloaded from its website www. The Code of Practice governing community television broadcasting specifies that material which may:. Material that stereotypes, incites, vilifies, perpetuates hatred against, or demeans any person or group on the basis of ethnicity, nationality, race, chosen language, gender, sexual preference, religion, age, physical or mental ability, occupation, cultural belief or political affiliation is not to be broadcast, however this is not to prevent the broadcast of material which is factual, expressive of genuinely held opinions in a news or current affairs program, or in the legitimate context of a humorous, satirical or dramatic work.
Open narrowcasting television services follow the same classification system as the Classification Board. Narrowcasters in general that includes open and subscription television and radio narrowcasters will not show material that:. Material available online and hosted in Australia is subject to the same classification categories as are applied to publications, films and computer games by the Classification Board.
The regulatory scheme for the internet operates on industry codes of practice and a complaints basis, so that when a person finds material offensive they can contact ACMA about whether the material potentially falls within a prohibited category.
ACMA has the power to initiate its own investigation into suspect websites. It may refer online content to the Classification Board for classification. Australian-hosted material that is classified RC or X is removed by an ACMA order notifying the internet contact host or server to shut down the site. Additionally they can be asked to apply a restricted access system to R rated material to prevent viewing of the site by children. Internet service providers must comply with any orders issued by ACMA to take down a site.
It is the service or content provider who is responsible for compliance with the Content Services Code, not the artist creating the material. ARIA and AMRA have developed an industry code of practice, which requires the labelling and handling of audio recordings containing potentially offensive lyrics or themes.
Recordings which include visual images, for example an audiovisual recording of a concert, are considered a film and may need to be classified by the Classification Board.
Performances are not generally subject to classification, however where a performance forms part of a classifiable work for example, a multimedia work then the performance may impact on how the multimedia work is classified. Works will be considered to be obscene, and therefore unlawful, where they are offensive to contemporary community standards. It can be extremely difficult to predict with any degree of certainty whether a particular work will be considered obscene. Determination of what is offensive and what are contemporary community standards involves highly subjective assessments.
Issues to consider in determining whether a performance or other work is likely to breach such laws include:. South Australia has specific legislation dealing with the classification of theatrical performances. Under the Classification of Theatrical Performances Act SA a theatrical performance that causes offence to adults or is unsuitable for children may have conditions imposed on the advertisement and performance of the production.
Visual artworks are not generally subject to classification, however where the work is a classifiable work for example, a film, moving image or video art, computer game or publication it will need to be classified before it can be exhibited, sold, hired or distributed.
Printed reproductions of artworks such as exhibition catalogues may be subject to classification as publications by the Classification Board. For more information see the comments made about obscenity under the heading Performing Arts, above.
Attorney-General's Department Commonwealth www. Australian Communications and Media Authority www. Australian Record Industry Association www. Australian Music Retailers' Association www. Classification Board www. Electronic Frontiers Australia www. Legislation can be searched for and viewed at www. Information sheets Artists should be aware that they might be required to have their works classified.
In this information sheet: Artists should be aware that they might be required to have their works classified.
Introduction Artists should be aware that they might be required to have their works classified. Different works are subject to different classification systems. Films, computer games and publications classifications are administered by the Classification Board.
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