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Are you trying to censor me, Mrs Robinson?

Season 10, Ep. 8

Banned, appealed, cut eleven times: The Graduate (1967) had a torrid time in Ireland. What narrative were Irish audiences allowed to see? And, Mrs Robinson, we stan.

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  • 10. Interview With A Censor feat. John Kelleher

    In our last (for now) episode, we chat to John Kelleher who was appointed Irish film censor in 2003. When he left in 2009, the Irish Film Censor's Office had been renamed the Irish Film Classification Office, a reform that reflected how it had become, as John says 'more guide dog than guard dog'. Until the pod returns, thanks to everyone for listening!A & LM xx
  • 9. Transparent Classification

    Censors have been replaced by classifiers, opaque silence by annual reports. We read recent annual reports from the British Board of Film Classification (BBFC) and the Irish Film Classification Office (IFCO) to see how those offices work in a digital media age, and to see what the (complaining) public thinks of their role. Films mentionedMinions: the Rise of GruGhostbustersWatership DownBambiStar Trek the Motion PictureNutcracker (by Matthew Bourne)The BatmanBatman ReturnsA Man Called OttoThe Banshees of InisherinSaltburnCocaine BearBenedettaBBFC 2022 Annual ReportIFCO published reports
  • 8. Abject Grace: Bad Lieutenant (1992) feat. Rob Doyle

    This remarkable neo-noir, directed by Abel Ferrara, has never been certified by the Irish Film Classification Office (the new name for the censor’s office). Aoife and Lloyd Meadhbh are joined by author Rob Doyle to discuss how Abel Ferrara and Zoe Lund, with backgrounds in porno sleaze, made a sincere film about redemption, and forgiveness.Bad Lieutenant dir. Abel Ferrara, starring Harvey KeitelRob Doyle
  • 7. Staging violence: The Wild Bunch (1969)

    In Sam Peckinpah’s film, standard Western tropes – outlaws, heroes, beautiful landscape – are used to interrogate an exhausted genre. He knows spectacular gunfights are problematic but did the cut version shown in Ireland convey Peckinpah’s intent?The Wild Bunch, dir Sam Peckinpah, starring William Holden, Ernest BorgnineSupport us and Merch!
  • 6. A Celluloid Nasty: Peeping Tom (1960)

    One of Martin Scorsese’s favourite films and guess what? We agree, it’s brilliant. Contemporary audiences detested it, preferring to ignore why they derived pleasure from realistic, filmed torture and terror. This film has everything from Freudianism to a Hitchcock doppelganger. Cuts made by censors might be lost forever but it still shocks and gives us a perfect amount of ick.Peeping Tom (1960) dir. Michael Powell, starring Karlheinz Boehm, Anna Massey, Moira Shearer Psycho (1960) dir. Alfred Hitchcock, starring Anthony Perkins, Janet Leigh.  The Red Shoes (1948) dir. Powell and Pressburger, starring Anton Walbrook, Moira Shearer. Support us!And, Merch
  • 5. Anti-natal: Rosemary's Baby (1968)

    A horror fan (Lloyd Meadhbh) and not-a-horror fan (Aoife) agree that this unexpectedly feminist film did not deserve to be banned twice in Ireland. Caveat: Roman Polanski directed it.Rosemary’s Baby (dir. Roman Polanski) starring Mia Farrow and John CassavetesMerch!Support us on Patreon
  • 4. The Full Gere: American Gigolo (1980)

    Ties, suits and sex - Paul Schrader's exploration of consumerism and Richard Gere's hotness was pruned of bad language and "sex scenes" by the Irish censor.American Gigolo (1980, dir. Paul Schrader) starring Richard Gere, Lauren Hutton, Bill Duke, Hector ElizondoYou Must Remember This on American Gigolo More on Aoife's Gere-athon for Patreon supportersMerch!
  • 3. Video Nasties (Part Two)

    What’s the worst celluloid crime committed in The Evil Dead: excessive violence or Bruce Campbell’s fringe? Lloyd Meadhbh (a fan) tries to persuade Aoife (a sceptic) to embrace this video-nasty classic. Also, listener correspondence on The Rocky Road to Dublin.The Evil Dead (dir. Sam Rami, 1981) Dead II (dir. Sam Rami, 1987) Studies Podcast on ‘Evil Dead II’ us, if you can
  • 2. Video Nasties (Part One)

    Lloyd Meadhbh rewinds the tape back to the 1980s, when a new film medium caused a new (ish) moral panic. Support usMerch