Temporary exhibits complement the permanent collection with an ever-changing program.
There is also a large Native American collection, which features both art and artifacts, including baskets, beadwork, textiles, and several early photographs and hand-colored lithographs. The permanent collection, displayed on a rotating basis due to sheer numbers, features decorative arts, African art, contemporary crafts, and American art. This large facility is home to more than ten thousand works of art, which span a period of 2,000 years. Official site: The Mobile Museum of Art is located in Mobile's Langan Park.
Visitors can get a copy of the free self-guided walking tour of the grounds and museum by stopping at the Trading Post.Īddress: 150 South Royal Street, Mobile, Alabama The fort also offers fun, family-friendly activities like a colonial-themed photo gallery, a shooting gallery, and a photo set with colonial costumes and props. Opened in celebration of the nation's bicentennial in 1976, the fort gives tourists a glimpse of life in the fort during the 18th century. Today's historic fort area covers about one-third of the original space, and was reconstructed using a 4/5 scale to incorporate as many of the features as possible. By 1823, all of the fort's buildings had been removed to make way for what is now downtown Mobile, including present-day Theater Street, Government Boulevard, Royal Street, and more. Political censorship of the cinema was most active during and between the world wars and declined rapidly after 1945.Built by the French on Mobile Bay in 1702 to defend their colony, the fort was rebuilt in 1723 after a flood, serving as the area's main defense point until 1820. Subsequently the film was reclassified PG uncut for a limited cinema re-release in 1987 and is now acknowledged as a classic. With its potential to cause political unrest diminished, especially after the death of Stalin in 1953, the film was finally classified X uncut (persons under 16 not admitted).
Attempts were made to block a number of these screenings, either by the police or by local authorities.īy the time the BBFC was asked to look at the film again, in 1954, silent films were no longer commercially viable and the film was therefore likely to appeal only to a very small and select audience. Eventually the film was screened privately (for the Film Society) in 1929 and was subsequently screened a number of times, usually at private performances (eg for workers' educational groups), during the 1930s. Moves to submit the film to other local authorities were halted after the film's distributors were visited by the Metropolitan Police. However, the fact that no attempts were made to tone down the film suggested political motives.
It was remarked by some at the time that, had violence been the real problem, cuts could have been made. However, the film was rejected by both councils, officially because of its violence.
According to The Times, screenings of the film in Berlin had already led to unrest and a censorship battle between left wing supporters of the film and right-wing efforts to have it banned.įollowing the BBFC's rejection of the film, Potemkin was submitted to the London County Council and Middlesex County Council for certificates for local screenings. No doubt at the back of the BBFC's mind was the nine day British general strike in May 1926 which had provoked fears amongst some quarters of society of a potential revolution in the UK. The BBFC's Annual Report for 1926 mentions that the film was rejected for "inflammatory subtitles and Bolshevist Proaganda". The film was rejected when first submitted to the BBFC in September 1926, on the grounds that films should not address issues of 'political controversy' and that Potemkin's pro-Revolutionary message was therefore unacceptable for classification. The film, like many Russian silents of the time, was clearly, carefully and powerfully designed as pro-Bolshevik propaganda. Sergei Eisentein's silent classic was made in 1925 as a homage to the abortive 1905 Russian naval mutiny.