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De Stroheim à Spielberg, de Naissance d’une nation à la trilogie Scream, de Selznick aux frères Weinstein, des Nickelodeons bondés au piratage en ligne, la question de l’acceptabilité des films traverse toute l’histoire d’Hollywood. Confrontés à diverses formes de censure, les studios s’organisent très tôt pour faire face, mais également faire place à la critique : ils engagent des censeurs internes pour incorporer à moindre coût les contraintes de chaque époque. D’où la dualité de ce livre : discipline industrielle car les studios créent des dispositifs d’autorégulation, bâtissent des digues concurrentielles, guettent collectivement tout signe d’assouplissement ou de raidissement de la censure ; innovation cinématographique car chaque film est une occasion de tester la détermination et la sagacité des censeurs. C’est une nouvelle histoire culturelle et industrielle d’Hollywood qui se révèle : celle des trouvailles d’un Hawks, d’un Wilder ou d’un Kubrick, mais aussi celle des astuces commerciales, des querelles juridiques et des confrontations publiques. Quatre dates jalonnent le récit : 1915, émergence de la censure civile ; 1934, naissance de la Ligue de la Décence ; 1968, institution de la cotation par âges ; 1999, tuerie de Columbine. Pourquoi Columbine ? Parce que le débat sur la violence fictionnelle reprend à Washington, montrant aux studios que la menace d’une censure fédérale demeure d’actualité.

Motion pictures --- Cinéma --- Censorship --- History --- Censure --- Histoire --- Cinéma --- History of cinema - Hollywood and censorship - 20th-21st centuries. --- Motion pictures - Censorship - United States - History - 20th century --- Motion pictures - Censorship - United States - History - 21st century --- History. --- United Artist --- Nation Legion of Decency (Ligue de la décence États-Unis) --- Motion Picture Association of America (MPAA) --- Twentieth Century Fox --- Warner Bros

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"If it bleeds, it leads." The phrase captures television news directors' famed preference for opening newscasts with the most violent stories they can find. And what is true for news is often true for entertainment programming, where violence is used as a product to attract both viewers and sponsors. In this book, James Hamilton presents the first major theoretical and empirical examination of the market for television violence. Hamilton approaches television violence in the same way that other economists approach the problem of pollution: that is, as an example of market failure. He argues that television violence, like pollution, generates negative externalities, defined as costs borne by others than those involved in the production activity. Broadcasters seeking to attract viewers may not fully bear the costs to society of their violent programming, if those costs include such factors as increased levels of aggression and crime in society. Hamilton goes on to say that the comparison to pollution remains relevant when considering how to deal with the problem. Approaches devised to control violent programming, such as restricting it to certain times and rating programs according to the violence they contain, have parallels in zoning and education policies designed to protect the environment. Hamilton examines in detail the microstructure of incentives that operate at every level of television broadcasting, from programming and advertising to viewer behavior, so that remedies can be devised to reduce violent programming without restricting broadcasters' right to compete.

Nasilje. --- Televizija. --- Action film. --- Adult. --- Advertising. --- Aggression. --- American Family Association. --- Auction. --- Audience measurement. --- Beakman's World. --- Brand. --- Broadcast network. --- Broadcast programming. --- Broadcast syndication. --- Cable television. --- Calculation. --- Chairman. --- Chapter 2. --- Chapter 6. --- Children's Television Act. --- Cinemax. --- Competition. --- Consideration. --- Consumer. --- Content analysis. --- Cost–benefit analysis. --- Crime Story (TV series). --- Crime statistics. --- Criticism. --- Customer. --- Demography. --- Dummy variable (statistics). --- Economics. --- Episode. --- Estimation. --- Externality. --- Federal Communications Commission. --- Footage. --- Graphic violence. --- Household. --- Incentive. --- Income. --- Independent station (North America). --- Indication (medicine). --- Journalism. --- Legislation. --- Local news. --- Market failure. --- Market segmentation. --- Marketing. --- Motion Picture Association of America film rating system. --- Network affiliate. --- News program. --- News. --- Newspaper. --- Nielsen ratings. --- Nudity. --- Opportunity cost. --- Parent company. --- Parental Advisory. --- Parents Television Council. --- Pay television. --- Percentage. --- Politician. --- Politics. --- Pollution. --- Pornography. --- Prediction. --- Probability. --- Product differentiation. --- Public broadcasting. --- Public interest. --- Public policy. --- Requirement. --- Respondent. --- Schindler's List. --- Spitzer (bullet). --- Standard deviation. --- Standard error. --- Statistical significance. --- TV Guide. --- TV Parental Guidelines. --- Target audience. --- Tax. --- Ted Turner. --- Television channel. --- Television consumption. --- Television content rating systems. --- Television in the United States. --- Television network. --- Television program. --- Television. --- Terrestrial television. --- The Logic of Collective Action. --- This TV. --- Trade-off. --- V-chip. --- Viewing (funeral). --- Violent crime. --- Voting. --- WGN (AM). --- Warning label.