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a private industry code, strictly enforced, is more effective than government censorship as a means of imposing religious dogma. It is secret, for one thing, operating at the pre-production stage. The audience never knows what has been trimmed, cut, revised, or never written. For another, it is uniform—not subject to hundreds of different licensing standards. Finally and most important, private censorship can be more sweeping in its demands, because it is not bound by constitutional due process or free-expression rules—in general, these apply to only the government—or by the command of church-state separation ... there is no question that American cinema today is far freer than in the heyday of the Code, when Joe Breen's blue pencil and the Legion of Decency's ever-present boycott threat combined to assure that films adhered to Catholic Church doctrine. [341] The entire document contained Catholic undertones and stated that art must be handled carefully because it could be "morally evil in its effects" and because its "deep moral significance" was unquestionable. [18] The Catholic influence on the Code was initially kept secret, owing to the Anti-Catholic bias of the time. [21] A recurring theme was "throughout, the audience feels sure that evil is wrong and good is right." [6] The Code contained an addendum, commonly referred to as the Advertising Code, that regulated film advertising copy and imagery. [22] Enforcement [ edit ] Hays stepped down in 1945, after 24 years as Hollywood's chief censor, but remained an advisor. [361] His successor, Eric Johnston, rebranded the association as the Motion Picture Association of America (MPAA). [359] In 1956, he oversaw the first major revision of the Production Code since it was created in 1930. This revision allowed the treatment of some subjects which had previously been forbidden, including abortion and the use of narcotics, so long as they were "within the limits of good taste". At the same time, the revisions added a number of new restrictions to the code, including outlawing the depiction of blasphemy and mercy killings in films. [362] Apart from the economic realities of the conversion to sound, were the artistic considerations. Early sound films were often noted for being too verbose. [4] [58] In 1930, Carl Laemmle criticized the wall-to-wall banter of sound pictures, and director Ernst Lubitsch wondered what the camera was intended for if characters were going to narrate all the onscreen action. [58] The film industry also withstood competition from the home radio, and often characters in films went to great lengths to belittle other media. [59] The film industry was not above using the new medium to broadcast commercials for its projects however, and occasionally turned radio stars into short feature performers to take advantage of their built-in following. [60] Monahan, Kaspar. "High Schoolers Smash Rule Of Gangland – Save City From Mobsters In DeMille Film At Penn", The Pittsburgh Press, September 16, 1933; accessed October 9, 2010.
On February 19, 1930, Variety published the entire contents of the Code and predicted that state film censorship boards would soon become obsolete. [23] However, the men obligated to enforce the code – Jason Joy, who was the head of the Committee until 1932, and his successor, Dr. James Wingate – were seen as generally ineffective. [17] [24] The very first film the office reviewed, The Blue Angel, which was passed by Joy without revision, was considered indecent by a California censor. [25] Although there were several instances where Joy negotiated cuts from films, and there were indeed definite, albeit loose, constraints, a significant amount of lurid material made it to the screen. [26] iv) when considering arrest in connection with any offence and it is necessary to search, examine or photograph the person to obtain evidence. See Note 2H Bisexual actress Marlene Dietrich cultivated a cross-gender fan base and started a trend when she began wearing men's suits. She caused a commotion when she appeared at the premiere of The Sign of the Cross in 1932 in a tuxedo, complete with top hat and cane. [205] The appearance of homosexual characters was at its height in 1933; in that year, Hays declared that all gay male characters would be removed from pictures. Paramount took advantage of the negative publicity Dietrich generated by signing a largely meaningless agreement stating that they would not portray women in male attire. [206] Comedy [ edit ] Juveniles should not be arrested at their place of education unless this is unavoidable. When a juvenile is arrested at their place of education, the principal or their nominee must be informed. (From Code C Note 11D) While Joy declared Dracula "quite satisfactory from the standpoint of the Code" before it was released, and the film had little trouble reaching theaters, Frankenstein was a different story. [236] New York, Pennsylvania, and Massachusetts removed the scene where the monster unintentionally drowns a little girl and lines that referenced Dr. Frankenstein's God complex. [237] Kansas, in particular, objected to the film. The state's censor board requested the cutting of 32 scenes, which if removed, would have halved the length of the film. [230]
Pre-Code Hollywood (1927–1934) was the brief era in the American film industry between the widespread adoption of sound in film in 1929 [1] and the enforcement of the Motion Picture Production Code censorship guidelines, popularly known as the Hays Code, in mid-1934. Although the Code was adopted in 1930, oversight was poor, and it did not become rigorously enforced until July 1, 1934, with the establishment of the Production Code Administration (PCA). Before that date, film content was restricted more by local laws, negotiations between the Studio Relations Committee (SRC) and the major studios, and popular opinion, than by strict adherence to the Hays Code, which was often ignored by Hollywood filmmakers. When it is practicable to tell a person why their arrest is necessary (as required by paragraphs 2.2, 3.3 and Note 3), the constable should outline the facts, information and other circumstances which provide the grounds for believing that their arrest is necessary and which the officer considers satisfy one or more of the statutory criteria in sub-paragraphs (a) to (f), namely: The Code was divided into two parts. The first was a set of "general principles" that mostly concerned morality. The second was a set of "particular applications", an exacting list of items that could not be depicted. Some restrictions, such as the ban on homosexuality or the use of specific curse words, were never directly mentioned but were assumed to be understood without clear demarcation. Miscegenation, the mixing of the races, was forbidden. The Code stated that the notion of an "adults-only policy" would be a dubious, ineffective strategy that would be difficult to enforce. [18] However, it did allow that "maturer minds may easily understand and accept without harm subject matter in plots which does younger people positive harm." If children were supervised and the events implied elliptically, the code allowed what Brandeis University cultural historian Thomas Doherty called "the possibility of a cinematically inspired thought crime." [19] This 1932 promotional photo of Joan Blondell was later banned under the then-unenforceable Motion Picture Production Code.
Pre-Code films began to draw the ire of various religious groups, some Protestant but mostly a contingent of Roman Catholic crusaders. [305] Amleto Giovanni Cicognani, apostolic delegate to the Catholic Church in the United States, called upon Roman Catholics in the United States to unite against the surging immorality of films. As a result, in 1933, the Catholic Legion of Decency, headed by the Reverend John T. McNicholas (later renamed the National Legion of Decency), was established to control and enforce decency standards and boycott films they deemed offensive. [306] [307] They created a rating system for films that started at "harmless" and ended at "condemned", with the latter denoting a film that was a sin to watch. [308] a) to enable the name of the person in question to be ascertained (in the case where the constable does not know, and cannot readily ascertain, the person’s name, or has reasonable grounds for doubting whether a name given by the person as his name is his real name): whom the officer has reasonable grounds for suspecting is about to commit an offence or to be committing an offence;Prison Act 1952, section 49, arrest to return person unlawfully at large to the prison etc. where they are liable to be detained; In considering the individual circumstances, the constable must take into account the situation of the victim, the nature of the offence, the circumstances of the suspect and the needs of the investigative process. Our optimistic view is that the guidance provided by The Decency Code, can contribute to a broader peripheral vision and heightened social sensitivity that can return decency to a predominant everyday theme. The book, in some ways, is about how to operationalize it… “in your heart,” vs “in your face.” At a minimum our messages around “when it’s time to say goodbye” are especially timely. For the next few months, the crush of goodbyes will continue in our country. In the end, however, the planters admit their wrongdoing and agree to a more equitable distribution of capital. [74] A famous scene from It Happened One Night, in which Claudette Colbert hitchhikes using an unorthodox method to attract a ride, after Clark Gable's failure to get one with his thumb.
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