Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.
"Gilbert's book discusses the censorship and restraint to which Victorian novels and American films from the 1930s through the 1950s were subject . . . The book is extensively researched and written in a graceful style . . . Recommended."
Choice
"Rarely has a book of film scholarship so directly challenged conventional interpretations . . . Gilbert makes a powerful contribution by showing how censorship and creativity coexisted-and at times, though certainly not always, reinforced each other. She has written one of the gutsiest recent books in film history, and one that cannot be ignored."
Cineaste
"It's a fascinating premise that Gilbert presents with insightful scholarship, some sharply startlng insights and a lucid, engaging writing style. Indeed, hers is that rare scholarly book that's also quite entertaining to read."
