With new surges of activity from religious, political, and military extremists, the destruction of images has become increasingly relevant on a global scale. A founder of the study of early modern and contemporary iconoclasm, David Freedberg has addressed this topic for five decades. His work has brought this subject to a central place in art history, critical to the understanding not only of art but of all images in society.  This volume collects the most significant of Freedberg’s texts on iconoclasm and censorship, bringing five key works back into print alongside new assessments of contemporary iconoclasm in places ranging from the Near and Middle East to the United States, as well as a fresh survey of the entire subject. The writings in this compact volume explore the dynamics and history of iconoclasm, from the furious battles over images in the Reformation to government repression in modern South Africa, the American culture wars of the early 1990s, and today’s cancel culture. 

Freedberg combines fresh thinking with deep expertise to address the renewed significance of iconoclasm, its ideologies, and its impact.  This volume also provides a supplement to Freedberg’s essay on idolatry and iconoclasm from his pathbreaking book, The Power of Images. Freedberg’s writings are of foundational importance to this discussion, and this volume will be a welcome resource for historians, museum professionals, international law specialists, preservationists, and students.

The first comprehensive history of the Catholic Church’s notorious Index, with resonance for ongoing debates over banned books, censorship, and free speech.
 
For more than four hundred years, the Catholic Church’s Index Librorum Prohibitorum struck terror into the hearts of authors, publishers, and booksellers around the world, while arousing ridicule and contempt from many others, especially those in Protestant and non-Christian circles. Biased, inconsistent, and frequently absurd in its attempt to ban objectionable texts of every conceivable description—with sometimes fatal consequences—the Index also reflected the deep learning and careful consideration of many hundreds of intellectual contributors over the long span of its storied evolution. This book constitutes the first full study of the Index of Prohibited Books to be published in English. It examines the reasons behind the Church’s attempts to censor religious, scientific, and artistic works, and considers not only why this most sustained of campaigns failed, but what lessons can be learned for today’s debates over freedom of expression and cancel culture.

In Indie Porn, Zahra Stardust examines the motivations and interventions of independent porn producers as they navigate criminal laws, risk-averse platforms, discriminatory algorithms, and rampant piracy. Herself a porn performer and participant, Stardust takes readers behind the scenes, offering intimate insights into this sociopolitical movement. She finds politicians who watch porn in parliament, protesters leading face-sitting demonstrations, sex workers making COVID-safe pornography, and artists reverse-engineering porn detection software. Against the backdrop of a global gig economy, Stardust documents the promises of indie porn to democratize content, revolutionize production, and redistribute wealth while outlining the fantasies of regulators, whose illusions of what porn is and does foreclose possibilities for transformation. Inevitably, as these paradigms collide, porn producers engage in creative tactics to hustle for survival and visibility, from ethical certification to law reform, sometimes reproducing hierarchies of stigma themselves. By highlighting how porn stigma is bound up with intersecting oppressions, Stardust identifies these junctions as coalitional opportunities for changing social relationships to sex, work, and capitalism.

The occupation of the northern half of the Chinese territories in the 1120s brought about a transformation in political communication in the south that had lasting implications for imperial Chinese history. By the late eleventh century, the Song court no longer dominated the production of information about itself and its territories. Song literati gradually consolidated their position as producers, users, and discussants of court gazettes, official records, archival compilations, dynastic histories, military geographies, and maps. This development altered the relationship between court and literati in political communication for the remainder of the imperial period. Based on a close reading of reader responses to official records and derivatives and on a mapping of literati networks, the author further proposes that the twelfth-century geopolitical crisis resulted in a lasting literati preference for imperial restoration and unified rule.

Hilde De Weerdt makes an important intervention in cultural and intellectual history by examining censorship and publicity together. In addition, she reorients the debate about the social transformation and local turn of imperial Chinese elites by treating the formation of localist strategies and empire-focused political identities as parallel rather than opposite trends.

The definitive work on the Hollywood blacklist era

The Inquisition in Hollywood examines the suppression of radical political activity in the film industry from the days of the Great Depression through the tumultuous House Un-American Activities Commission era to the waning days of the infamous blacklist.

Although this thirty-year period of American history is marked by widespread targeting of leftists in all areas of life, those in the film industry–-predominately screenwriters–-were considered to be in positions of great potential indoctrinating power, and found themselves under intense scrutiny as the Cold War hysteria mounted.

Ceplair and Englund trace the history of political struggle in Hollywood back to the formation of the Screen Writers Guild in 1933. Many of the blacklisted filmmakers were members of the Communist Party and all of the graylisted filmmakers had expressed their sympathy with progressive (mainly anti-fascist) causes.

Although no Hollywood Communist has ever been linked to espionage or sabotage, and charges of subversive indoctrination have no basis in documented fact, this book powerfully shows how devastating a mere suspicion or insinuation of guilt could be during the era of the Red Menace.

Twenty-two years after its initial publication, The Inquisition in Hollywood remains the definitive work on the blacklist era, and this new edition features a new introduction by the authors.

The newest edition of the Intellectual Freedom Manual is more than simply an update of a foundational text that has served as a crucial resource for more than four decades. It is a living document that serves as the authoritative reference for day-to-day guidance on maintaining free and equal access to information for all people. Whether you’re developing or revising policies, on-boarding new staff or trustees, responding to challenges and controversies, or studying librarianship, you’ll find this an indispensable resource, with features such as

• ALA policy statements, approved by committees and Council, articulating core intellectual freedom principles and best practices;
• 8 new interpretations of the Library Bill of Rights, which address urgent issues like internet filtering, public performances, political activity, religion, and equity, diversity, and inclusion;
• “Issues at a Glance” sidebars which present key concepts, points of law, tips, and questions for reflection;
• expanded content about developing library policies that support intellectual freedom;
• updated information on censorship of library programs, displays, and databases;
• “Advocacy and Assistance,” a section offering concrete guidance when you’re called on to talk to the media or meet with legislators;
• Deeper Look essays which examine the laws related to library operations;
• advice on when to call the police, when not to, and how to handle personally identifiable information when they arrive; and
• an expanded glossary.

Intellectual freedom is a complex concept that democracies and free societies around the world define in different ways but always strive to uphold. And ALA has long recognized the crucial role that libraries play in protecting this right. But what does it mean in practice? How do library workers handle the ethical conundrums that often accompany the commitment to defending it? Rather than merely laying out abstract policies and best practices, this important new collection gathers real-world stories of intellectual freedom in action to illuminate the difficulties, triumphs, and occasional setbacks of advocating for free and equal access to information for all people in a shifting landscape. Offering insight to LIS students and current practitioners on how we can advance the profession of librarianship while fighting censorship and other challenges, these personal narratives explore such formidable situations as

• presenting drag queen story times in rural America;
• a Black Lives Matter “die-in” at the undergraduate library of the University of Wisconsin-Madison;
• combating censorship at a prison library;
• hosting a moderated talk about threats to modern democracy that included a neo-Nazi spokesman;
• a provocative exhibition that triggered intimidating phone calls, emails, and a threat to burn down an art library;  
• calls to eliminate non-Indigenous children’s literature from the collection of a tribal college library; and
• preserving patrons’ right to privacy in the face of an FBI subpoena.

How changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women’s reproductive roles and rights.

Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball’s real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown’s controversial single motherhood; Arnold Schwarzenegger’s pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra.

In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now.

Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women’s work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US.