Kirjahaku

To combat behavior they viewed as sexually promiscuous, politically undesirable, or downright criminal, social activists in Progressive-era New York employed private investigators to uncover the roots of society's problems. "New York Undercover" follows these investigators - often journalists or social workers with no training in surveillance - on their information-gathering visits to gambling parlors, brothels, and meetings of criminal gangs and radical political organizations. Drawing on the hundreds of detailed reports that resulted from these missions, Jennifer Fronc reconstructs the process by which organizations like the National Civic Federation and the Committee of Fourteen generated the knowledge they needed to change urban conditions. This information, Fronc demonstrates, eventually empowered government regulators in the Progressive era and beyond, strengthening a federal state that grew increasingly repressive in the interest of pursuing a national security agenda. Revealing the central role of undercover investigation in both social change and the constitution of political authority, "New York Undercover" narrates previously untold chapters in the history of vice and the emergence of the modern surveillance state.

As movies took the country by storm in the early twentieth century, Americans argued fiercely about whether municipal or state authorities should step in to control what people could watch when they went to movie theaters, which seemed to be springing up on every corner. Many who opposed the governmental regulation of film conceded that some entity-boards populated by trusted civic leaders, for example-needed to safeguard the public good. The National Board of Review of Motion Pictures (NB), a civic group founded in New York City in 1909, emerged as a national cultural chaperon well suited to protect this emerging form of expression from state incursions.Using the National Board’s extensive files, Monitoring the Movies offers the first full-length study of the NB and its campaign against motion-picture censorship. Jennifer Fronc traces the NB’s Progressive-era founding in New York; its evolving set of “standards” for directors, producers, municipal officers, and citizens; its “city plan,” which called on citizens to report screenings of condemned movies to local officials; and the spread of the NB’s influence into the urban South. Ultimately, Monitoring the Movies shows how Americans grappled with the issues that arose alongside the powerful new medium of film: the extent of the right to produce and consume images and the proper scope of government control over what citizens can see and show.

As movies took the country by storm in the early twentieth century, Americans argued fiercely about whether municipal or state authorities should step in to control what people could watch when they went to movie theaters, which seemed to be springing up on every corner. Many who opposed the governmental regulation of film conceded that some entity-boards populated by trusted civic leaders, for example-needed to safeguard the public good. The National Board of Review of Motion Pictures (NB), a civic group founded in New York City in 1909, emerged as a national cultural chaperon well suited to protect this emerging form of expression from state incursions.Using the National Board’s extensive files, Monitoring the Movies offers the first full-length study of the NB and its campaign against motion-picture censorship. Jennifer Fronc traces the NB’s Progressive-era founding in New York; its evolving set of “standards” for directors, producers, municipal officers, and citizens; its “city plan,” which called on citizens to report screenings of condemned movies to local officials; and the spread of the NB’s influence into the urban South. Ultimately, Monitoring the Movies shows how Americans grappled with the issues that arose alongside the powerful new medium of film: the extent of the right to produce and consume images and the proper scope of government control over what citizens can see and show.