This book presents first-of-a-kind studies of films dealing with events of the recent past. The authors point to new phenomena which have been exposed by film directors. They deal with timely and important topics such as migration, diasporas, gender and stereotypes, post-communist political myths, social and political problems people face today.

At the heart of any history of controversial films is a strange paradox: while films, especially popular and mainstream films, are often portrayed as meaningless products of popular culture, those popular films involved in public controversies become the focal point of enormous cultural energy, political attention, and profoundly conflicting sets of principles. The ongoing culture wars continue to shape the American political landscape, and controversial films continue to be a major point of conflict. Controversial Cinema: The Films that Outraged America traces the history of controversial films and offers insights into why it is that certain films spark controversies, and how Americans typically react to controversial moviemaking. Since the widespread banning of DW Griffith's The Birth of a Nation, the American film industry has found itself embroiled in one political controversy after another. These controversies have centered on everything from the portrayal of the past, as in Griffith's film, to depictions of sex and sexuality, to the use of graphic violence, and issues of race, religion, and politics. In turn, segments of the American public have been driven to boycott, picket, and even censor those films they felt challenged their sense of decency. At the heart of this history of controversial films is a strange paradox: while films, especially popular and mainstream films, are often portrayed as meaningless products of popular culture, popular films involved in public controversies become the focal point of enormous cultural energy and political attention. The ongoing culture wars thus continue to shape the American political landscape, and controversial films continue to be a major point of conflict. In the course of this wide-ranging work, Kendall Phillips offers insights into the kinds of films that spark controversies, and the ways that Americans typically react to them. Organized around broad controversial themes and with particular attention to mainstream films since the dissolution of the Motion Picture Production Code in the mid-1960s, Controversial Cinema explores why films spark broad cultural controversies, how these controversies play out, and the long-term results. The four broad areas of controversy examined in the work are: Sex and Sexuality, Violence, Race, and Religion. Each chapter offers a broad overview of the history of these topics in controversial American films as well as more in-depth examinations of recent examples, including The Silence of the Lambs, Natural Born Killers, Do the Right Thing, and The Passion of the Christ. A final section of the book considers the broader issues of cultural politics in light of the long history of controversial cinema.

This multidisciplinary volume considers the role of both public health and mental health policies and practices in the prevention of mass atrocity, including war crimes, crimes against humanity, and genocide. The authors address atrocity prevention through the framework of primary (pre-conflict), secondary (mid-conflict), and tertiary (post-conflict) settings. They examine the ways in which public health and mental health scholars and practitioners currently orient their research and interventions and the ways in which we can adapt frameworks, methods, tools, and practice toward a more sophisticated and truly interdisciplinary understanding and application of atrocity prevention. The book brings together diverse fields of study by global north and global south authors in diverse contexts. It culminates in a narrative that demonstrates the state of the current fields on intersecting themes within public health, mental health, and mass atrocity prevention and the future potential directions in which these intersections could go. Such discussions will serve to influence both policy makers and practitioners in these fields toward developing, adapting, and testing frames and tools for atrocity prevention. Multidisciplinary perspectives are represented among editors and authors, including law, political science, international studies, public health, mental health, philosophy, clinical psychology, social psychology, history, and peace studies.

Between 1996-97 an almost unprecedented campaign was mounted in the British press against on one film: David Cronenberg's Crash. What motivated this campaign? What can it tell us about British film culture? What impact did the campaign have on general audiences? This book, which draws on a year-long investigation supported by the Economic and Social Research Council, offers a series of important and challenging findings and is a major contribution to our understanding of censorship campaigns, how audiences respond to films, and the strategies employed in engaging with such texts.

Between 1996-97 an almost unprecedented campaign was mounted in the British press against on one film: David Cronenberg's Crash. What motivated this campaign? What can it tell us about British film culture? What impact did the campaign have on general audiences? This book, which draws on a year-long investigation supported by the Economic and Social Research Council, offers a series of important and challenging findings and is a major contribution to our understanding of censorship campaigns, how audiences respond to films, and the strategies employed in engaging with such texts.

Scorsese's 1988 film The Last Temptation of Christ arguably generated more resistance and conflict upon its release than any film before or since, engendering intense debate and even hatred between religious conservative protesters and liberal progressive defenders of the picture. This is the first full examination of the controversy, its participants, and their claims concerning the film's religious meaning. This debate reflects deep levels of social and cultural insecurity produced by the shifting role of religion and religious language in an increasingly secularized society, and demonstrates how a popular film about Jesus captured, inflamed, and strengthened existing animosities. Providing new insights into film's significance as an indicator of the changing relationship between secular and religious domains, the work offers a thorough and fascinating historical analysis of the various interpretations of Last Temptation and its reception.