Analysis of the environment in which films were viewed is essential in order to gain a fuller understanding of the British cinema experience during the Great War. The exhibition context is of particular importance during the war years, as cinema going throughout this period was far from idyllic; in fact, British cinemas were subject to police scrutiny and were a hub of sexual activity that the government strove to suppress. Many critics have located the reports of these activities as part of a wider ‘moral panic’ regarding the cinema and the films exhibited within it, predominantly orchestrated by religious pressure groups and self-styled ‘moral crusaders’. Lise Shapiro Sanders likens this movement to similar campaigns in the nineteenth century, arguing that, like music halls previously, cinemas were subjected to ‘censorship and ideological control in an endeavour to distribute middle-class codes of social practice to the “lower” classes’. Yet this approach has often been based on the findings of a report by the National Council for Public Morals, with little investigation of the actual data supplied to the committee. Even accounts that have used some of this evidence position it as a minor component, exaggerated out of all proportion in order to satisfy the personal objectives of the moral purity campaigners.While there was a concerted effort throughout the Great War to highlight the perceived social ills of the cinema, I have attempted to present a more balanced account, which details the problems faced by cinemas during this period and the measures sought to improve them.

in Hammond, M and Williams, (Eds), British Silent Cinema and the Great War (2011), Palgrave Macmillan; reproduced with permission of Palgrave Macmillan. This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: http://www.palgrave.com/products/title.aspx?pid=493370