Game Of Thrones: Lack Of Censorship

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Media has been continuously changing through the years. Media is defined on Dictionary.com (2016) as “the means of communication, as radio and television, newspapers, magazines, and the Internet, that reach or influence people widely”. The earlier forms of television were a black and white picture; the quality of the image was poor and the effects were often far from realistic. As technology advanced along with producers’ abilities to create more realistic effects restrictions and rules had to be put in place to block out and minimize unacceptable aspects in media, which is defined as censorship. The recent hit T.V show Game of Thrones has turned many heads with its intense action, gripping story, and compelling world. However, Game of Thrones …show more content…
While a lack of censorship may have to do with a general progression into what one views as acceptable, what if Game of Thrones has defied the previous benchmark for censorship. Now (possibly) amongst Game of Thrones success, has the show changed what content is displayed and deemed acceptable to broadcast on television? It seem that newer shows are attempting to match the grit and power of Game of Thrones by following the same lack of censorship within their shows. Looking back before Game of Thrones was released, what kind of censorship was in the more popular shows? It appears that as the years have progressed, there has been fewer regulations/ enforcement on what is censored. As Monika Mehta (2009) states “The British system for classifying/ censoring films has altered substantially in the last decade” (p.59). I agree with Mehta’s statement, however, I believe that the altercations are happening almost everywhere, not just in Britain. Looking back on what shows were most popular in the 90’s a lot of sitcoms come to mind. Friends, Seinfeld, and Fresh prince of Bel-Aire are a few of the most popular shows I can think of …show more content…
Shannon Wells-Lassagne (2013) explains that “Game of Thrones’s opening episode includes dismemberment, beheading, adultery, prostitution, rape and incest, to name but a few” (p. 418). Wells-Lassagne (2013) then proceeds to ask “Is aesthetic detachment possible [or preferable], or is this emphasis on prurience a concession of HBO’s quality television to commercial viability?” (p. 418). Wells-Lassagne brings up a good argument as it can be hard to see exactly where Game of Thrones draws its line as to what is considered too far. Perhaps Game of Thrones wants to stay true to the original work of the books author George R.R. Martin. As Stephen Murphy (2014) states “Game of Thrones producers D. B. Weiss and David Benioff have done an outstanding job staying true to the book series and to George R. R. Martin’s vision.” (p. 86). It would make sense for the show to follow the books as closely as possible, however Murphy (2014) also explains that “changes to the story must also be made with the budget in mind” (p. 86). If that statement by Murphy holds true, wouldn’t it make sense to cut back on some of the excess uses of violence, or the large amount of women they require to be played nude in the

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