(e) redistribute material from our website.Ĥ.6 Notwithstanding Section 4.5, you may redistribute our newsletter in print and electronic form to any person.Ĥ.7 We reserve the right to restrict access to areas of our website, or indeed our whole website, at our discretion you must not circumvent or bypass, or attempt to circumvent or bypass, any access restriction measures on our website. (d) exploit material from our website for a commercial purpose or (c) show any material from our website in public (b) sell, rent or sub-license material from our website
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Subject to the other provisions of these terms and conditions.Ĥ.2 Except as expressly permitted by Section 4.1 or the other provisions of these terms and conditions, you must not download any material from our website or save any such material to your computer.Ĥ.3 You may only use our website for your own personal and business purposes, and you must not use our website for any other purposes.Ĥ.4 Except as expressly permitted by these terms and conditions, you must not edit or otherwise modify any material on our website.Ĥ.5 Unless you own or control the relevant rights in the material, you must not: (e) use our website services by means of a web browser,
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At the same time, the public's growing appetite for more sophisticated 'art films' gave theater owners and movie distributors the financial incentive to fight back.1.1 These terms and conditions shall govern your use of our website.ġ.2 By using our website, you accept these terms and conditions in full accordingly, if you disagree with these terms and conditions or any part of these terms and conditions, you must not use our website.ġ.3 If you register with our website, submit any material to our website or use any of our website services, we will ask you to expressly agree to these terms and conditions.ġ.5 Our website uses cookies by using our website or agreeing to these terms and conditions, you consent to our use of cookies in accordance with the terms of our privacy and cookies policy.Ģ.1 This document was created using a template from SEQ Legal ().ģ.1 Copyright (c) 2020 Durham Christian Partnership.ģ.2 Subject to the express provisions of these terms and conditions: Clark, the state had 'no legitimate interest in protecting all or any religions from views distasteful to them.' Following this ruling, cities and states all over the country began to lose censorship challenges. The case went all the way to the Supreme Court, which unanimously voted to reject the ban. Cardinal Spellman denounced the film as blasphemous, churchgoers picketed, and state licensing officials shut down the theater. New York, the ACLU defended Joseph Burstyn, owner of New York's Paris movie theater, for showing 'The Miracle,' a Roberto Rossellini film about a woman who believes she has given birth to Jesus Christ. It wasn't until the 1950s that the ACLU succeeded in bringing a challenge to film censorship that marked the beginning of the end for the Hays Code. A 1933 ACLU pamphlet, 'What Shocked the Censors,' ridiculed cuts made by New York censors.
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In Hollywood, the Hays Code set the industry standard for self-censorship from 1930 to the late 1950's, with bans on nudity, suggestive dancing and 'lustful kissing.' Also prohibited were depictions of interracial romance and homosexuality, the mocking of religion, illegal drug use, and storylines in which criminals escaped justice. After an 11-year ban, the ACLU's Morris Ernst managed to secure a ruling that the work was not pornographic, and Ulysses became available in the United States for the first time in 1933, more than a decade after publication.
Customs Service kept many classic works from entering the country, the most famous among them James Joyce's Ulysses, at the time already considered a literary masterpiece. Americans today would find it hard to believe what was suppressed in the not-so-distant past.īans on art and literature that offended 'public morals' were the norm, and few challenges were brought, let alone won. While battles over the suppression of political speech raged in the courts during the first half of the 20th century, the public was not particularly concerned with restrictions on artistic words and images by government and private entities, especially works that were sexual in nature.
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