Citation

Olund E. Cult. Geogr. 2009; 16(4): 485-504.

Copyright

(Copyright © 2009, SAGE Publishing)

DOI

10.1177/1474474009340088

PMID

unavailable

Abstract

Traffic in Souls (Universal, 1913) inaugurated a spate of so-called white slave pictures at it time the US was experiencing a moral panic over prostitution. The film enacts a sexual all racial geography oft lie industrial city, one that is mobile and aleatory and requires a similarity mobile yet self-possessed subject to navigate it mid its dangers successfully Social reformers staffing the National Board of Review of Motion Pictures sought to steel the narrative outcome of the Film toward a certain moral end, one that encouraged the production of a governmental subjectivity for its white, female spectators. This was a 'constructive' regulatory agenda toward sexuality through cinema that worked in tension with the more coercive statutory prohibition of prostitution, one thoroughly, is thoroughly racialized through its exclusion of African Americans from concern.