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Series III holds files relating to London's long career working against censorship. This series is arranged in two subseries: Censorship Files, and Embassy Pictures.

This series is dedicated to London's legal work that did not relate to issues of censorship.

Series II focuses on the uproar surrounding Grove Press's attempt to publish Tropic of Cancer in 1961. Legal correspondence follows the development of the case, and is highlighted by London's attempts to find leading cultural figures – including Jacques Barzun and Norman Mailer – to attest to the literary merits of Miller's controversial novel. The attorneys hired a clipping service to record every mention of censorship in the nation's newspapers. Much of this series is dedicated to the copious results of this effort. Hundreds of tear-sheets from around the country follow the public attitudes toward obscenity and reveal a loud debate over the American publication of Tropic of Cancer. The articles also follow local cases, including trials in California and Texas, of booksellers charged with selling obscene materials.

Series V: Writings contains Wechsler's memoir accounting her family, life, and work. The series contains Wechsler's articles on the law, teenage sexuality, abortions, and censorship and obscenity. This series also contains drafts ofIn A Darkness, an account of the life and suicide of Nancy's son Michael, co-written by Nancy and her husband James.

There are some photographs located with related materials in other parts of the Collection. For example, some photographs remain with the scenarios with which they were found. This includes the scenarios, Saiyūki/西遊記,Sekai saigo no hi/世界最後の日, and others; see Subseries V.3: Scenarios: Other Screenwriters/Directors. There are also some photographs of the director and producer Ikeda Yoshinobu/池田義信 located with Censorship materials in Subseries VI.5: Subject Files: Censorship. Photographs for the production of Makino related films can be found with related documents in Subseries XXII.6 pertaining to the films Nenokuni/根の国 and Taihei/太平 (box 666). Postcards can be found throughout the Makino Collection. For a postcard set from 48 of the "Tora-san" film series, Otoko wa Tsurai yo /男はつらいよ/It's Tough Being a Man, see box 361. There are over 150 posters in the collection.

Series I contains the journal articles, newspaper articles, scrapbooks, storyboards, photographs, programs, fliers, and some scenarios for films pertaining to specific directors all organized by Makino Mamoru under each director's name. Also included are articles written by Makino and other authors about specific directors and their films, interviews, and printed material. Subseries I.17 are files of the above items related to the named directors in alphabetical order by family name.

This series contains Okinawa culture, history, tourist, and film related materials, many of them gathered during or related to Makino's visits to Okinawa, starting in the period of the U.S. Occupation of Okinawa (1945-1972). Two binders in the collection were labeled "USECA" for USCAR or United States Civil Administration of the Ryūkyū Islands (琉球列島米国民政府) period. The USCAR materials remain divided into 2 files (See Makino's article on the period, "Occupation Rule During the USCAR Era and Media Censorship"/「米民政府（USCAR）期の占領政策とメディア統制」 in Ryukyu Reflections Nexus of Borders, program for the Yamagata International Documentary Film Festival 2003).

Series III assembles materials related to Shur's production of the Closet Case Show on Manhattan Cable Access from 1984-1994. Subseries III.1 includes the show's extensive correspondence and materials files, which include letters, flyers, photographs, event announcements, pamphlets, erotica, and more, as well as documents from Shur's battles with the cable access channel over censorship and cancellation, PR materials, media coverage of Shur and the show, materials from film festivals in which Shur's work appeared, and correspondence with Haworth Press, with whom Shur collaborated on academic research into gay video pornography and visual culture. Shur created a business selling erotic videotapes drawing on content from the show, files from which are collected in Subseries III.2.

Series III is the largest series in the collection. It contains materials related to underground comix and comic strips by Howard Cruse, including correspondence, sketches and original artwork, proofs, and published works. These include the underground comix Barefootz and Gay Comix, as well as the comic strips Tops and Button,Count Fangor,Doctor Duck, and Wendel. The series also documents Cruse's other roles within the comics industry: art directing Starlog, writing a column for Comics Scene, and editing Gay Comix #1-#4. Significant events and controversies within the comics industry documented in the collection include the 1971-1980 Walt Disney Productions v. Air Pirates court case, which Cruse's 1981-1983 Comics Scene column addressed, and the 2000-2004 Little Sisters Book and Art Emporium v. Canada censorship case, for which Cruse provided expert testimony (Subseries III.4).

"In my teens, when I was a student at the Lycéee Descartes, in Tours, France," wrote Griffin in the unpublished preface to his Journal, "a man I greatly admired suggested that I begin keeping a journal of my life. He said it was one way of learning to know myself provided I let no one else see it, wrote it honestly and wrote in it even when I felt I had nothing to say.". From the age of sixteen until he was twenty-one, Griffin continued his journal; but when France was about to fall to the Germans, he gave the autograph journals to a schoolmate for safe-keeping, and returned to the states. "Years later when I returned to France [in 19761, I retrieved the journal which had been buried on my friend's father's farm during the war." He began to read his reflections. "It was a sickening experience. Pages were filled with literary analyses, musical analyses, foods we ate, with scarcely a word about the supreme reality of the war which preoccupied us day and night. It was pure escape from that reality rather than any attempt to handle it. I was heartsick to find myself so false.... I burned those pages and did not resume [a journal] until some years later when I was blind and had learned to use the typewriter.". Curiously, it was again on the advice of a man he admired--the theatre critic John Mason Brown--that Griffin began to write. But it was not a journal; it was his first novel, The Devil Rides Outside, written in 1949. His mature Journal was launched in December of 1950, during the third year of sightlessness. When.he was not working on novels or short stories, he poured impressions into the Journal, which became a seedbed for most of work he would publish later. We find in its pages fragments and drafts of stories and novels; essays and articles; voluminous meditations on ethics, religion and philosophy; responses to the music he listened to constantly; discussions of cooking, farming and family relationships; insights into the realities of blindness and how the condition is wrongly perceived by the sighted; speculations on psychology, sociology, anthropology and the arts in relation to the diminishment of culture in America. We hear every tone of voice from the compassionate to the dismissive; styles that range from lyric to polemic, from the scholarly to the absurd. At times he was naive and narrowly opinionated; at other times, measured and wise. He reflected on literature and life--the books he had read (and those which were read to him or recorded on tapes) and all the places he had traveled and lived. He was always a bit nostalgic for the high culture of France and the great joy of learning he had discovered in that adopted land; nostalgic also for the year he spent on a remote island in the South Seas living among the native inhabitants. Conversely, he had been horrified by war--both what he had witnessed working in the French Underground and the devastation of combat while in the Air Force in the Pacific.. Reading the Journal one is always aware that it is an intensely human document--full of contradictions and paradoxes; hope and despair; criticism of the world and self-criticism; fear and anguish over what often did not matter, as well as heroism in the face of what mattered most. The writing is, by turns, elegant and crude; often brilliant and sometimes ignorant; and splattered with passages that roar with comic hyperbole or soar with a spiritual clarity. But always one reads as if one has discovered a secret document; that one is looking over the shoulder of a man who is truely alive in the immense process of becoming a genuine artist and thinker. And later we meet the justly famous author who has absorbed the profound wisdom of humility.. This massive Journal runs to 2,762 pages of single-spaced typed pages. This page count does not include ten autograph notebooks he kept away from the typewriter nor the published books (previously mentioned) that were pulled out of the overall Journal and composed into separate books.. During the period of his blindness--recorded in the Journal from December of 1950 until sight-recovery in January of 1957--he typed almost 900 pages in a span of just slightly more than six years. That is roughly 150 pages each year. Yet, the count for 1951, the first full year of keeping the Journal, is 231 pages (the third highest volume for any year). This was a period of intense introspection for Griffin, he was in the process of making what the French call "the great yes" or the leap of faith from indecision to belief; Griffin became a convert to Catholicism in 1952.. In 1954 we find the second most voluminous year with 255 pages. That year, he was suffering not only from the complications of blindness and diabetes, but he had contracted spinal malaria--a condition which paralyzed him from the waist down and confined him to a wheelchair. All he could do was sit at the typewriter, listen to music, and write.. The entries of 1954 record a very real agony and ecstasy. Griffin experienced the most alienating depths of despair alternating with some of the greatest spiritual heights of his life. Without the love and understanding of his young wife (Elizabeth Holland and Griffin married in 1953), as well as his parents and also her parents--and with absolute faith in God--he would not have survived the ordeal. Instead he wrote about everything that year and drafted over 400 pages of Nuni, his second novel.. In the decade of blindness--from 1947 to early 1957--Griffin composed five novels (two were published, two remain unpublished and the fifth was lost); over sixty short stories (most unpublished); a short book on blindness (Handbook For Darkness); music lectures and articles; and nearly a thousand pages in the Journal . Virtually all of his fiction--literally thousands of pages--were written during the decade of sightlessness. Except for revisions of earlier novels in draft and one short piece of humor ("Pilgrimage"), his career as a fiction writer was over when he regained his sight.. During the 1960s he managed to average over100 pages per year in the Journal, including the second highest page count (248) in 1966. In general, however, these entries move away from introspection toward the concerns of a public life--a-decade which found him away from the studio and his expanding family and in a world of turmoil. His writings were much shorter and their focus was temporal not eternal. He published polemical and journalistic articles on racism, injustice, war, censorship, politics, and lectured extensively on these same issues (and, of course, specifically- on his experiences in Black Like Me, its aftermath, and the civil rights battles that followed. He wrote brilliantly and courageously, and his lectures and writings were in great demand. But the public life took its toll on the books he was forced to leave unfinished (novels as well as Scattered Shadows), and what limited private time that remained was spent with his family and friends and in the darkroom (where his photographic career blossomed), but not in the writing studio. Those years also took their toll on his fragile health. He was no longer blind and the paralysis had lasted only one year, but the stress of his schedule far from solitude increased the debilitating effects of his diabetic condition. He experienced blackouts and exhaustion. His Journal records all this activity in a cryptic rather than expansive manner.. With his appointment as the Official Biographer of Thomas Merton, illness turned toward relative health, exhaustion was replaced by energy, and Griffin once again found spiritual joy in solitude and a fascinating long-range project. The Journal, from 1970-1980 runs about 650 pages--about 65 pages as an annual average with only 1975 accumulating more than 200 pages. This drop in production was a result of the work on the biography and that includes The Hermitage Journals factored out of the equation, as well as a tremendous amounts of photographic work--choices that Griffin was pleased to make, of course. But other factors--not of his choosing--also impacted upon the Journal. There was a significant decline in his health (this is why the entries are more than three times the volume of 1970-1974; he was confined and unable to travel to Gethsemani and Europe where so much research had been accomplished); and there was also the countless intrusions of the curious making pilgrimages to his door.. The Autograph Notebooks, which Griffin considered part of his overall Journal, are from widely different time-frames. Written in spiral notebooks or bound composition books that Griffin carried on his travels when having a typewriter was impossible or inconvenient; these generally reflect a specific event or span of days that can be integrated by dated passage into the overall scheme of his personal Journal.