Hays Code - Knowledge

1081: 1169:, generated great controversy involving the PCA. The first dealt with the deaths of children, including that of the "wicked child" protagonist Rhoda at the end, which had been the result of changing the ending from the original novel to abide with the Code's "crime must pay" rule. On the other hand, the second film was vociferously attacked by religious and moral leaders, partly because of its provocative publicity, while the MPAA attracted great criticism for approving a film that ridiculed law enforcement and often used racial epithets. However, the Legion's condemnation of the film didn't attract a unified response from religious authorities, some of which considered that other films, including 1179: 103: 614: 498:

called for depictions of the "correct standards of life", and lastly forbade a picture to show any sort of ridicule towards a law or "creating sympathy for its violation". The second part was a set of "particular applications", which was an exacting list of items that could not be depicted. Some restrictions, such as the ban on homosexuality or on the use of specific curse words, were never directly mentioned, but were assumed to be understood without clear demarcation. The Code also contained an addendum commonly referred to as the Advertising Code, which regulated advertising copy and imagery.

641: 601:, the first film the office reviewed, which was passed by Joy with no revisions, was considered indecent by a California censor. Although there were several instances where Joy negotiated cuts from films and there were definite—albeit loose—constraints, a significant amount of lurid material made it to the screen. Joy had to review 500 films a year with a small staff and little power. He was more willing to work with the studios, and his creative writing skills led to his hiring at Fox. On the other hand, Wingate struggled to keep up with the flood of scripts coming in, to the point where 509:(by 1934, defined only as sexual relationships between black and white races) was forbidden. It also stated that the notion of an "adults-only policy" would be a dubious, ineffective strategy that would be difficult to enforce; 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 "the possibility of a cinematically inspired thought crime". 575: 1424:, was initially banned in the U.S. for its frank depiction of sexuality; however, this was overturned by the Supreme Court. In 1970, because of confusion over the meaning of "mature audiences", the M rating was changed to "GP" meaning "for general exhibition, but parental guidance is suggested", then in 1972 to the current "PG", for "parental guidance suggested". In 1984, in response to public complaints regarding the severity of horror elements in PG-rated titles such as 44: 848:(1942), objecting to any explicit reference to Rick and Ilsa having slept together in Paris, and to the film mentioning that Captain Renault extorted sexual favors from his supplicants; ultimately, both remained strongly implied in the finished version. Adherence to the Code also ruled out any possibility of the film ending with Rick and Ilsa consummating their adulterous love, making inevitable the ending with Rick's noble renunciation, one of 731:, has defined the code as "no mere list of Thou-Shalt-Nots, but a homily that sought to yoke Catholic doctrine to Hollywood formula. The guilty are punished, the virtuous rewarded, the authority of church and state is legitimate, and the bonds of matrimony are sacred." What resulted has been described as "a Jewish owned business selling Catholic theology to Protestant America". 1389:, the first film to feature the "Suggested for Mature Audiences" (SMA) label. As the PCA board was divided about censoring the film's explicit language, Valenti negotiated a compromise: the word "screw" was removed, but other language remained, including the phrase "hump the hostess". The film received Production Code approval despite the previously prohibited language. 541: 1208:(1956). Columbia's agreement with the MPAA forbade it from distributing a film without a seal of approval, but the agreement did not specify what a subsidiary could do. Thus, exempt from the rules imposed by the code, subsidiary distributors were utilized, and even created by major studios such as Columbia, in order to defy and weaken the code. 484:, met with Lord and Quigley. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention. It was the responsibility of the SRC (Studio Relations Committee, precursor to the PCA) headed by Colonel Jason S. Joy, a former 1411:

guardian), and "X" meaning persons under 16 would not be admitted. By the end of 1968, Geoffrey Shurlock stepped down from his post, and the PCA effectively dissolved, being replaced by the Code and Rating Administration (CARA), headed by Eugene Dougherty. The CARA would replace "Code" with "Classification" in 1978.

809:, the production office forbade it, citing the prohibition on depicting "in an unfavorable light" another country's "institutions prominent people", with threats to take the matter to the federal government if the studio went ahead. This policy prevented a number of anti-Nazi films being produced. In 1938, the 1367:

as the Association's new head. The chaos of the interim period had rendered enforcement impossible and Valenti, an opponent of the Production Code, began working on a rating system under which film restrictions would lessen, an idea that had been considered as early as 1960 in response to the success

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released it anyway, under a specially-created pseudonym, Premier Productions. This was the first instance of an MPAA member company directly producing a film without an approval certificate. Also, the original, lengthy code was replaced by a list of eleven points outlining that the boundaries of the

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to release the film without the Production Code seal, with the New York censors licensing the film without the cuts demanded by Code administrators. The producers appealed the rejection to the MPAA. On a 6–3 vote, the MPAA granted the film an exception, conditional on "reduction in the length of the

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where the narrator discovers that her husband (the aristocratic widower Maxim de Winter) killed his first wife (the titular Rebecca) and she makes light of it, since it followed Rebecca having strongly provoked and taunted him. As having a major character get away with murder and living happily ever

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wrote him a letter imploring him to pick up the pace. In 1930, the Hays office did not have the authority to order studios to remove material from a film, and instead worked by reasoning and sometimes pleading with them. Complicating matters, the appeals process ultimately put the responsibility for

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Executive Secretary) to supervise film production and advise the studios when changes or cuts were required. On March 31, the MPPDA agreed it would abide by the Code. The production code was intended to put a limitation on films which were distributed to a large audience, making it more difficult to

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The code was divided into two parts. The first was a set of "general principles" which prohibited a picture from "lowering the moral standards of those who see it", so as not to wrongly influence a specific audience of views including, women, children, lower-class, and those of "susceptible" minds,

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were edited out of the master negative of the film. By the time the Code became fully functional by January 1935, several films from the pre-Code era and the transition period beginning in July 1934 were pulled from release exchanges (with some of them never seeing public release again), which led

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The entire document was written with Catholic undertones, and stated that art must be handled carefully because it could be "morally evil in its effects", and its "deep moral significance" was unquestionable. It was initially decided to keep the Catholic influence on the Code secret. A recurring

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All criminal action had to be punished, and neither the crime nor the criminal could elicit sympathy from the audience, or the audience must at least be aware that such behavior is wrong, usually through "compensating moral value". Authority figures had to be treated with respect, and the clergy

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went into effect on November 1, 1968, with the four rating symbols: "G" meaning suggested for general exhibition (persons of all ages admitted), "M" meaning suggested for mature audiences, "R" meaning suggested as restricted (persons under 16 not admitted unless accompanied by a parent or adult

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Some of Hollywood's creative class managed to find positives in the Code's limitations however. Director Edward Dmytryk later said that the Code "had a very good effect because it made us think. If we wanted to get something across that was censorable... we had to do it deviously. We had to be

1252:(1960), often dealing with adult subjects and sexual matters that had not been seen in Hollywood films since enforcement of the production code began in 1934. The MPAA reluctantly granted the seal of approval for these films, although not until certain changes were made. Owing to its themes, 594:

published the entire content of the Code, and predicted that state film censorship boards would soon become obsolete; however, the men obliged to enforce the code—Jason Joy (head of the committee until 1932) and his successor, James Wingate—were generally unenthusiastic and/or ineffective.

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The code sought not only to determine what could be portrayed on screen, but also to promote traditional values. Sexual relations outside marriage, which were forbidden to be portrayed as attractive or beautiful, were to be presented in a way that would not arouse passion or make them seem

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no longer guaranteed a film's commercial failure (to the point several films were no longer condemned by the Legion by the 1950s), and several aspects of the Code had slowly lost their taboo. In 1956, areas of the Code were rewritten to accept subjects such as miscegenation, adultery, and

859: 82:, the administrator appointed by Hays to enforce the code in Hollywood. The film industry followed the guidelines set by the code well into the late 1950s, but it began to weaken, owing to the combined impact of television, influence from foreign films, controversial directors (such as 2245:

The Production Code of the Motion Picture Producers and Distributors of America, Inc., 1930–1934, "miscegenation (sex relationship between the white and black races) is forbidden" (Part II, Item 6). No mention was made of miscegenation between whites and any race other than Black

937:'s breasts. When the film's initial 1943 release was shuttered by the MPPDA after a week, Hughes eventually persuaded Breen that this did not violate the code and the film could be shown, although without a seal of approval. The film eventually got a general release in 1946. The 544: 137:

bills in 1921. In 1922, as they were faced with the prospect of having to comply with hundreds and potentially thousands of inconsistent, easily changed decency laws in order to show their films, the studios chose self-regulation as the preferable option, enlisting

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responded by collaborating on a list they called the "Don'ts and Be Carefuls", based on items that were challenged by local censor boards. This list consisted of eleven subjects best avoided and twenty-six to be handled very carefully. The list was approved by the

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of the 1930s led many studios to seek income by any way possible. Since films containing racy and violent content resulted in high ticket sales, it seemed reasonable to continue producing such films. Soon, the flouting of the code became an open secret. In 1931,

548: 547: 542: 1154:, a pre-Code film dealing with prostitution, was canceled by MGM twice, in 1940 and in 1946, as the character Anna was not allowed to be portrayed as a prostitute. By 1962, such subject matter was acceptable, and the original film was given a seal of approval. 283:

Pointed profanity—by either title or lip—this includes the words God, Lord, Jesus, Christ (unless they be used reverently in connection with proper religious ceremonies), Hell, S.O.B., damn, Gawd, and every other profane and vulgar expression however it may be

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new code would be current community standards and good taste. Any film containing content deemed suitable for older audiences would feature the SMA label in its advertising. With the creation of this new label, the MPAA unofficially began classifying films.

549: 710:(PCA) and required all films released on or after July 1, 1934, to obtain a certificate of approval before being released. The PCA had two offices: one in Hollywood and the other in New York City. The first film to receive an MPPDA seal of approval was 737:, a prominent Catholic layman who had worked in public relations, was appointed head of the PCA. Under Breen's leadership, which lasted until his retirement in 1954, enforcement of the Production Code became notoriously rigid. Even cartoon sex symbol 476:, created a code of standards and submitted it to the studios. Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure. In February 1930, several studio heads, including 1076:

protection, and thus the short could not be banned. This reduced the threat of government regulation, which had formerly been cited as justification for the Production Code, and the PCA's powers over the Hollywood industry were greatly reduced.

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could not be portrayed as comic characters or villains. Under some circumstances, politicians, police officers, and judges could be villains, as long as it was clear that those individuals portrayed as villains were the exceptions to the rule.

990:, a new technology that did not require Americans to leave their houses to see motion pictures. Hollywood needed to offer the public something it could not get on television, which itself was under an even more restrictive censorship code. 1440:; as the X rating was not trademarked by the MPAA (which expected producers would prefer to self-rate such product), it was soon appropriated by adult bookstores and theaters, which marketed their products as being rated X, XX and XXX. 1363:, who had previously "liberalized" the Code, died. The next three years were marked by a power struggle between two factions, which led to an erratic application of the Code. Finally, the "liberal" faction prevailed by 1966, installing 546: 216:

followed suit the following year, with eight individual states having a board by the advent of sound film, but many of these were ineffectual. By the 1920s, the New York stage, a frequent source of subsequent screen material, had

75:(MPA), adopted the Production Code in 1930 and began rigidly enforcing it in 1934. The Production Code spelled out acceptable and unacceptable content for motion pictures produced for a public audience in the United States. 633:, arrived in 1935, enforcement of the Code was in full effect, and the doctor's overt God complex was forbidden. In the first picture, however, when the creature was born, his mad scientist creator was free to proclaim 269:

In a resolution passed on June 29, 1927, the MPPDA codified lists of "don'ts" and "be carefuls" into what they colloquially called their "Magna Charta". Many of these would later become key points in the Code.

261:(FTC), and Hays created the Studio Relations Committee (SRC) to oversee its implementation; however, there was still no way to enforce tenets. The controversy surrounding film standards came to a head in 1929. 668:

attacked it, stating that if crime were never to be presented in a sympathetic light, then taken literally that would mean that "law" and "justice" would become one and the same; therefore, events such as the

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personality and dress, adopting an old-fashioned, near-matronly appearance. However, by 1934, the prohibition against miscegenation was defined only as sexual relationships between black and white races.

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The Production Code of the Motion Picture Producers and Distributors of America stated by 1934 that "miscegenation (sex relationship between the white and black races) is forbidden" (Part II, Item 6).

716:(1934). For over 30 years, virtually all motion pictures produced in the United States adhered to the code. The Production Code was not created or enforced by federal, state, or city government; the 71:, president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945. Under Hays's leadership, the MPPDA, later the Motion Picture Association of America (MPAA) and the 1333:

scenes which the Production Code Administration found unapprovable". The requested reductions of nudity were minimal, and the outcome was viewed in the media as a victory for the film's producers.

229:. Filmmakers were facing the possibility that many states and cities would adopt their own codes of censorship, necessitating a multiplicity of versions of films made for national distribution. 1436:, the "PG-13" rating was created as a middle tier between PG and R. In 1990, the X rating was replaced by "NC-17" (under 17 not admitted) because of the former's stigma, being associated with 1275:, about a young woman who tries to play two suitors off against each other by claiming that she plans to keep her virginity until marriage, was released without a certificate of approval by 337:"Special care be exercised in the manner in which the following subjects are treated, to the end that vulgarity and suggestiveness may be eliminated and that good taste may be emphasized": 658:

One factor in ignoring the code was the fact that some found such censorship prudish, owing to the libertine social attitudes of the 1920s and early 1930s. This was a period in which the

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after would have been a flagrant violation of the Code, Hitchcock's version had Rebecca die in an accident with Maxim de Winter being only guilty for hiding the facts of her death. The

278:"Those things which are included in the following list shall not appear in pictures produced by the members of this Association, irrespective of the manner in which they are treated": 950:

The financial success of both films became deciding factors in the weakening of the Code in the late 1940s, when the formerly taboo subjects of rape and miscegenation were allowed in

1114:(1953) were released in 1955 as exploitation movies, their success leading to a wave of sexually-provocative European product reaching American theaters. Some British films, such as 908:

Newsreels were mostly exempt from the Code, although their content was mostly toned down by the end of 1934 as the result of public outrage over the coverage of the killings of

225:, adult subject matter, and sexually suggestive dialog. Early in the sound system conversion process, it became apparent that what was acceptable in New York might not be so in 1451:

used for production, the closure of the Hays Office in 1966 also corresponded with an increase in animal cruelty on sets. The association did not regain its access until 1980.

545: 3942: 962:(1949), respectively. In 1951, the MPAA revised the code to make it more rigid, spelling out more words and subjects that were prohibited. That same year however, MGM head 1223:

Explicit sexuality became expected in foreign films, to such an extent that "foreign film", "art film", "adult film" and "sex film" were for several years almost synonyms.

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was the first film featuring bare breasts to receive Production Code approval. The exception to the code was granted as a "special and unique case" and was described by

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presenters operating on the territorial (state-rights) distribution system openly violated it through the use of loopholes, masquerading the films as morality tales or

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advertisements from the 1950s. Many Americans at the time turned towards racier and more provocative foreign films, which remained largely free from code restrictions.

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Lugowski, David M. (Winter 1999). "Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code",

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even called Hays the "screen Landis". Hays was paid the lavish sum of $ 100,000 a year ($ 1.82 million in 2023), and served for 25 years as president of the

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In 1924, Hays introduced a set of recommendations dubbed "the Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the

872:, where he worked around the rule of three-second-kissing by having the two actors break off every three seconds. The whole sequence lasts two and a half minutes. 916:

and three girls in the Blue Ridge Mountains, the latter two occurring during the same week in November, not deviating much from the Code until World War II.

3927: 205: 970:, whose preference for gritty "social realism" films was often at odds with the Hays Office. In 1954, Breen retired, largely because of ill health, and 694:

mocked the code and quoted an anonymous screenwriter saying that "the Hays moral code is not even a joke any more; it's just a memory"; two years later

1262:(1959) was not granted a certificate of approval, but still became a box office smash, and as a result, it further weakened the authority of the Code. 364:, and dynamiting of trains, mines, buildings, et cetera (having in mind the effect which a too-detailed description of these may have upon the moron); 345:

International Relations (avoid picturizing in an unfavorable light another country's religion, history, institutions, prominent people and citizenry);

1073: 584:. Scenes where criminals aimed guns at the camera were considered inappropriate by the New York state censor board in the 1920s, and usually removed. 3851: 287:

Any licentious or suggestive nudity—in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture;

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studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation.

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In addition to the threat of television, the industry was enduring a period of economic difficulties that were compounded by the result of

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had always been morally questionable, and political pressure was increasing, with legislators in 37 states introducing almost one hundred

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did not extend to motion pictures. While there had been token attempts to clean up the films before (such as when the studios formed the

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wrote that the MPAA approval was "the first of a series of injuries to the Production Code that would prove fatal within three years".

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laws, and studios were not only forced to give up ownership of theaters, but they were also unable to control what exhibitors offered.

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Hollywood continued to work within the confines of the Production Code throughout the late 1940s and 1950s, but during this time, the

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was also released in 1946 without the approval of the Hays Office, featuring several on-screen deaths, adultery and displays of lust.

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permissible. Any sexual act considered perverted, including any suggestion of same-sex relationships, sex or romance, was ruled out.

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could not be portrayed. If clergy must always be presented in a positive way, then hypocrisy could not be dealt with either.

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The Production Code of the Motion Picture Industry (includes examples, all amendments, the 1956 rewrite, and 1966 rewrite)

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that was described as "unacceptably sex suggestive and lustful". Despite the rejection, the film's producers arranged for

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During the 1950s, studios found ways of both complying with the code, while at the same time circumventing it. In 1956,

3579: 3279: 3243: 1000: 829:(1940) being the first Hollywood film of any sort to openly spoof the Third Reich's leadership, followed soon after by 191: 87: 1837: 1202:, that specialized in importing foreign art films, in order to distribute and capitalize on the notoriety of the film 3701: 3467: 3308: 3228: 3213: 3198: 3183: 3138: 3081: 3025: 3007: 2988: 2956: 2861: 2840: 2825: 2704: 2380: 2355: 1230: 1204: 650: 212:

became the first state to take advantage of the Supreme Court's decision by instituting a censorship board in 1921.

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Furthermore, the postwar years saw a gradual, if moderate, liberalization of American culture. A boycott by the

2602: 2575: 1062: 766: 707: 166: 126: 129:, which brought widespread condemnation from religious, civic and political organizations. Many felt that the 1522: 154: 3351: 1080: 3846: 3255: 2846: 2334: 1236: 1178: 966:, one of Breen's foremost allies, was ousted after a series of disputes with the studio's production head, 640: 3250: 1620: 3499: 1468: 1460: 1444: 1281: 662:

was sometimes ridiculed as being naïve and backward. When the Code was announced, the liberal periodical

60: 2911: 2763: 3388: 3374:: Article by Nigel Watson about film censorship issues accompanied by classroom activities for students 1980:""Something's Missing Here!": Homosexuality and Film Reviews during the Production Code Era, 1934–1962" 1548: 1488: 1144: 952: 764:

studios to remake some of its early 1930s-era films in later years: 1941 saw the release of remakes of

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In 1927, Hays suggested to studio executives that they form a committee to discuss film censorship.

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was denied Production Code approval for its various instances of nudity, foreplay and intercourse.

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This led to increasing competition from foreign films which were not bound by the Code, such as

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Complete text of the Motion Picture Production Code of 1930 (without the subsequent amendments)

1517: 943: 690: 675: 139: 118: 90:. In 1968, after several years of minimal enforcement, the Production Code was replaced by the 31: 2750: 2308: 1795: 892: 3834: 3569: 3521: 3504: 2922: 2625: 2619: 1646: 1499: 1416: 1304: 1060:(in charge of film censorship in the state) revoked the film's license. The ensuing lawsuit, 868: 760: 629: 464: 296: 158: 3146:

Shocking True Story, The Rise and Fall of "Confidential", America's Most Scandalous Magazine

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The PCA also engaged in political censorship. When Warner Bros. wanted to make a film about

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theme was "that throughout, the audience feels sure that evil is wrong, and good is right".

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In the 1920s, Hollywood was rocked by a number of notorious scandals, such as the murder of

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Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 1930–1968

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in 1958, and within a decade all the major studios were distributing foreign art films.

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Breen's power to change scripts and scenes angered many writers, directors and Hollywood

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The Hays Code also required changes regarding adaptations of other media. For instance,

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The first major instance of censorship under the Production Code involved the 1934 film

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the previous year to quell questions about the integrity of baseball in the wake of the

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Hollywood v. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry

2998:'A Capacity For Evil': The 1915 Supreme Court Mutual Decision". In Bernstein, Matthew. 2549: 2469: 2015: 2007: 1930: 1542: 1532: 1242: 1116: 1110: 1090: 1053: 862:

Some directors found ways to get around the Code guidelines; an example of this was in

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clever. And it usually turned out to be much better than if we had done it straight."

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of content that was applied to most motion pictures released by major studios in the

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Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship

3239: 3224: 3209: 3194: 3179: 3164: 3149: 3134: 3095: 3077: 3062: 3021: 3003: 2984: 2967: 2952: 2937: 2907:. Flinders Institute for Research in the Humanities. Retrieved November 7, 2015. 2893: 2857: 2836: 2821: 2700: 2694: 2660: 2629: 2598: 2571: 2508: 2376: 2351: 2019: 1999: 1934: 1922: 1526: 1329: 1191: 1044: 971: 958: 938: 885: 844: 820: 790: 170: 150: 30:"Production Code" and "Hays Commission" redirect here. For TV episode numbering, see 3803: 3474: 3047: 2777: 1991: 1914: 1343:

at the time as "an unprecedented move that will not, however, set a precedent". In

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Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930–1934

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Beginning in the late 1950s, increasingly explicit films began to appear, such as

1175:(released that same year) had a similar amount and intensity of sensuous content. 813:

unearthed and prosecuted a Nazi spy ring, subsequently allowing Warner to produce

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Excessive or lustful kissing, particularly when one character or the other is a "

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The Face On The Cutting Room Floor: The Story Of Movie And Television Censorship

683:, predicted from the beginning that the Code would be difficult to enforce. The 1324:

fully expose their breasts, and also because of a sex scene between Oliver and

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On June 13, 1934, an amendment to the Code was adopted, which established the

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Titles or scenes having to do with law enforcement or law-enforcing officers;

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Pre-Code Hollywood: Sex, Immorality and Insurrection in Hollywood, 1930–1934

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was faced with very serious competitive threats. The first threat came from

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Freedom of the Screen: Legal Challenges to State Film Censorship, 1915–1981

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Hollywood's Censor: Joseph I. Breen and the Production Code Administration

1918: 3761: 3686: 3636: 3606: 3599: 3559: 2690: 1437: 1313: 1137: 1024:(1948), released in the United States in 1949. In 1950, film distributor 967: 897: 881: 756: 245: 218: 201: 157:, to rehabilitate Hollywood's image. The move mimicked the decision that 2934:

Pictures at a Revolution: Five Movies and the Birth of the New Hollywood

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Outside the mainstream studio system, the code was sometimes flouted by

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included under the proscription of sex perversion, and the depiction of

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More Sinned Against than Sinning: The Fabrications of "Pre-Code Cinema"

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Bibliography of books articles about movie censorship (via UC Berkeley)

3294: 2011: 1269:, whose films violated the Code repeatedly in the 1950s. His 1953 film 1039: 1008: 987: 921: 889: 738: 664: 222: 3059:

The Dame in the Kimono: Hollywood, Censorship, and the Production Code

2594:

The Dame in the Kimono: Hollywood, Censorship, and the Production Code

1979: 802:, not bound by the Code, restored du Maurier's original plot element. 86:) pushing boundaries, and intervention from the courts, including the 3616: 3594: 2507:. Lexington, Kentucky: University Press of Kentucky. pp. 84–86. 1299: 1195: 1183: 1165: 567: 559: 3251:"Hollywood Cleans Up Its Act; The curious career of the Hays Office" 1995: 1525:, a similar group, which sought to control musical content with the 2267:"Alfred Hitchcock's 1940 adaptation of Daphne du Maurier's Rebecca" 1426: 395: 213: 3361: 3191:

Children, Cinema and Censorship: From Dracula to the Dead End Kids

3000:

Controlling Hollywood: Censorship and Regulation in the Studio Era

1316:, was initially rejected because of two scenes in which actresses 1285:(1955), which portrayed the prohibited subject of drug abuse, and 3813: 3621: 2980:

The Wages of Sin: Censorship and the Fallen Woman Film, 1928–1942

2531: 742: 445: 383: 376: 2470:"United States v. Paramount Pictures, Inc., 334 U.S. 131 (1948)" 858: 3342:

Motion Picture Association of America: History and Film Ratings

1394: 321: 226: 3337:

Censored Films and Television at University of Virginia online

919:

However, the most famous defiance of the code was the case of

3666: 3393: 3204:

Sperling, Cass Warner, Cork Millner, and Jack Warner (1998).

2818:

Hollywood Censored: Morality Codes, Catholics, and the Movies

1392:

That same year, the British-produced, American-financed film

351: 2348:

The Making of Casablanca: Bogart, Bergman, and World War II

1140:, all in clear violation of the Hollywood Production Code. 1056:. This segment was considered to mock the Nativity, so the 34:. For the 1937 investigation by Arthur Garfield Hays, see 3378:

Numbered list of Production Code certificates of approval

3111: 3040:"Hollywood and the Holocaust: Remembering The Pawnbroker" 2766:, latimes.com, September 27, 1990; accessed May 28, 2017. 1447:

depended on the Hays Office for the right to monitor the

810: 265:

Pre-Code: "Don'ts" and "Be Carefuls", as proposed in 1927

3352:

Complete list of the 36 "Don'ts and Be Carefuls" of 1927

1069:

Mutual Film Corporation v. Industrial Commission of Ohio

197:

Mutual Film Corporation v. Industrial Commission of Ohio

78:

From 1934 to 1954, the code was closely identified with

610:

making the final decision in the hands of the studios.

190:

of films they were planning on producing. In 1915, the

3018:

Complicated Women: Sex and Power in Pre-Code Hollywood

2833:

Banned in Kansas: motion picture censorship, 1915–1966

1496:, which served the same purpose for television series 1265:

At the forefront of contesting the Code was director

314:

Scenes of actual childbirth—in fact or in silhouette;

113:

deliberately subverting some of the Code's strictures

63:

from 1934 to 1968. It is also popularly known as the

3943:

History of racism in the cinema of the United States

2505:

Freedom to Offend: How New York Remade Movie Culture

1502:, which functioned similarly for the comics industry 181:

Motion Picture Producers and Distributors of America

621:as Doctor Frankenstein's creation in the 1931 film 392:

Attitude toward public characters and institutions;

206:

National Association of the Motion Picture Industry

1072:), and held that motion pictures were entitled to 370:Technique of committing murder by whatever method; 208:(NAMPI) in 1916), little had come of the efforts. 27:U.S. film studio self-censorship rules (1930–1967) 3057:Leff, Leonard L. & Jerold L. Simmons (2001). 2696:Psycho: Behind the Scenes of the Classic Thriller 2193:, September 13, 1988; accessed November 24, 2010. 3869: 3236:Encyclopedia of World Biography: 2001 Supplement 3107:"Remembering Hollywood's Hays Code, 40 Years On" 3035:, GreenCine.com. Retrieved October 4, 2010. 1956:Leff & Simmons (2001), pp. 270–271; 286–287. 1952: 1950: 1948: 1946: 1944: 1148:prostitution. For example, a proposed remake of 386:or electrocutions as legal punishment for crime; 1291:(1959), which dealt with murder and rape. Like 1136:, and openly confronted the prejudices against 3259:, 31(2): 12–21. Retrieved March 19, 2014. 3092:Alfred Hitchcock: A Life in Darkness and Light 2456:"Censors try tempering growing movie violence" 2430:. Columbia University Press. pp. 217–218. 1212:followed suit and bought art film distributor 3409: 3384:"Doin' the Production Code" at the 1980 Tonys 2912:"X Film Rating Dropped and Replaced by NC-17" 2597:. University Press of Kentucky. p. 227. 2567:Hollywood Highbrow: From Entertainment to Art 2545:"FILM VIEW; The Flashbacks of a Festivalgoer" 1941: 1903:"Working the Crowd: Movies and Mass Politics" 1494:Code of Practices for Television Broadcasters 327:Willful offense to any nation, race or creed; 2688: 1723: 1721: 1084:U.S. theatrical advertisement from 1955 for 489:appeal to all individuals in the audiences. 3928:History of Catholicism in the United States 3046:, (84) 4: 353–376. Accessed March 9, 2009. 2570:. Princeton University Press. p. 103. 3416: 3402: 2983:. Madison: University of Wisconsin Press. 2453: 2219: 2217: 635:"Now I know what it feels like to be God!" 2949:Otto Preminger, the man who would be king 2718: 2716: 2324:, nypost.com; accessed December 18, 2016. 1838:"The Production Code and the Hays Office" 1788: 1718: 1711: 1709: 1566: 1564: 1347:, a 2008 study of films during that era, 996:United States v. Paramount Pictures, Inc. 755:, in which brief nude scenes involving a 401:Apparent cruelty to children and animals; 55:was a set of industry guidelines for the 3163:. New York: William Morrow and Company. 2725: 2502: 2136: 2134: 2132: 2122: 2120: 2118: 2116: 1764: 1762: 1760: 1177: 1079: 857: 639: 612: 573: 539: 101: 42: 2856:. New York: Columbia University Press. 2590: 2563: 2425: 2370: 2345: 2214: 2052: 2050: 1977: 1900: 1805: 1803: 1578: 1576: 14: 3870: 3234:"Will Hays: America's Morality Czar". 2929:, pp. 89–96. ISSN 0899-0328. 2775: 2713: 2444:, npr.org; accessed December 18, 2016. 2264: 2040: 2038: 1878: 1876: 1874: 1872: 1706: 1561: 1508:, which offers ratings for video games 789:could not retain a major element from 462:, editor of the prominent trade paper 3938:Race legislation in the United States 3397: 3221:Sin in Soft Focus: Pre-Code Hollywood 3120:"Three Stooges first to blast Hitler" 2951:(1st ed.) New York: Alfred A. Knopf. 2542: 2129: 2113: 1973: 1971: 1757: 1632: 1630: 1628: 842:. Breen influenced the production of 529: 3898:Film censorship in the United States 3888:1968 disestablishments in California 3174:Siegel, Scott & Barbara (2004). 2910:Fox, David J. (September 27, 1990). 2617: 2375:. Viking. pp. 207–208, 212–13. 2350:. Hyperion Books. pp. 162–166. 2161: 2095: 2047: 1800: 1615: 1613: 1611: 1609: 1597: 1573: 1433:Indiana Jones and the Temple of Doom 367:Brutality and possible gruesomeness; 3249:Yagoda, Ben (February/March 1980). 2881:. Retrieved February 10, 2014. 2648: 2035: 1885: 1869: 1739: 1652: 1603:Siegel & Siegel (2004), p. 190. 1506:Entertainment Software Rating Board 24: 3264: 2813:. Retrieved December 4, 2014. 2679:Leff & Simmons (2001), p. 231. 1968: 1748: 1625: 348:Religion and religious ceremonies; 171:1919 World Series gambling scandal 25: 3954: 3908:Culture of Hollywood, Los Angeles 3878:1930 establishments in California 3330: 1606: 1249:The Dark at the Top of the Stairs 977: 741:had to change her characteristic 627:. By the time the film's sequel, 578:A famous shot from the 1903 film 410:The sale of women, or of a woman 233:was deemed a preferable outcome. 3318:. University Press of Kentucky. 3178:(2nd edition). Checkmark Books. 3126:. Retrieved April 17, 2014. 3115:. Retrieved April 17, 2014. 3105:Mondello, Bob (August 8, 2008). 3061:. University Press of Kentucky. 3020:. New York: St. Martin's Press. 2918:. Retrieved April 17, 2014. 2884:Doherty, Thomas Patrick (2007). 2867:Doherty, Thomas (May 20, 2006). 2852:Doherty, Thomas Patrick (1999). 2847:"Censored: Wielding the Red Pen" 2835:. University of Missouri Press. 2291:Warner, Cass (director) (2007). 1007:as it had been found to violate 974:was appointed as his successor. 293:Any inference of sex perversion; 221:shows, performances filled with 3893:20th century in American cinema 3118:Mushnik, Phil (July 14, 2013). 2921:Gardner, Eric (February 2005). 2831:Butters Jr., Gerard R. (2007). 2769: 2756: 2743: 2734: 2682: 2673: 2642: 2611: 2584: 2557: 2536: 2521: 2496: 2487: 2462: 2447: 2434: 2419: 2397:"PBS American Cinema Film Noir" 2389: 2373:Inside Warner Bros. (1935-1951) 2364: 2339: 2327: 2314: 2301: 2284: 2258: 2249: 2239: 2230: 2205: 2196: 2179: 2170: 2152: 2143: 2104: 2086: 2077: 2068: 2059: 2026: 1959: 1894: 1860: 1851: 1830: 1821: 1812: 1730: 1697: 1688: 1679: 1670: 1479:Censorship in the United States 1386:Who's Afraid of Virginia Woolf? 1132:(1964), challenged traditional 1058:New York State Board of Regents 3423: 3314:Wittern-Keller, Laura (2008). 3303:. Atlanta: Turner Publishing. 3144:Scott, Henry E. (2004, 2010). 3094:. New York: Harper Perennial. 2820:. Cambridge University Press. 2776:Arnold, Jeremy (May 6, 2012). 1661: 1639: 1621:"Hollywood Cleans Up ..." 1585: 1582:Sperling et al (1998), p. 325. 1354: 1063:Joseph Burstyn, Inc. v. Wilson 708:Production Code Administration 524: 429:Deliberate seduction of girls; 426:Man and woman in bed together; 332: 53:Motion Picture Production Code 47:Motion Picture Production Code 13: 1: 3913:Motion picture rating systems 3274:. Stanford University Press. 3238:. Gale Research, Inc., 2001. 3223:. New York: Harry N. Abrams. 3176:The Encyclopedia of Hollywood 3076:. New York University Press. 2503:Haberski, Raymond J. (2007). 2493:Schumach (1964), pp. 163–164. 2333:Univ. of Virginia (2000–01), 2265:Varnam, Laura (August 2018). 1592:Encyc. of World Biog.: Suppl. 290:The illegal traffic in drugs; 155:Republican National Committee 97: 3133:. Rutgers University Press. 3002:. Rutgers University Press. 701: 432:The institution of marriage; 7: 2905:"Col. Jason S. Joy profile" 2454:Bob Thomas (June 1, 1955). 2065:Butters Jr. (2007), p. 188. 1754:Butters Jr. (2007), p. 189. 1715:Butters Jr. (2007), p. 187. 1685:Butters Jr. (2007), p. 148. 1676:Butters Jr. (2007), p. 149. 1514:, role which assists actors 1454: 1445:American Humane Association 1282:The Man with the Golden Arm 492: 453: 194:had decided unanimously in 10: 3959: 2994:Jowett, Garth S. (1999) . 2869:"The Code Before 'Da Vinci 2816:Black, Gregory D. (1996). 2798: 2740:Harris (2008), pp. 173–76. 2458:. Spokane Daily Chronicle. 2225:"The Code Before ..." 1570:McGilligan (2004), p. 376. 1549:This Film Is Not Yet Rated 1489:Classical Hollywood cinema 1414:In 1969, the Swedish film 1145:National Legion of Decency 533: 73:Motion Picture Association 29: 3827: 3727: 3537: 3431: 3159:Schumach, Murray (1964). 3038:Leff, Leonard J. (1996). 2962:Holden, Henry M. (2008). 2890:Columbia University Press 2657:University of Texas Press 2564:Baumann, Baumann (2002). 1901:Tratner, Michael (2003). 1594:(2001), "Will Hays" entry 1219:Author Peter Lev writes: 895:. One example of this is 816:Confessions of a Nazi Spy 458:In 1929, Catholic layman 273: 161:had made in hiring judge 3585:Content-control software 3372:Talking Pictures website 3219:Vieira, Mark A. (1999). 3129:Prince, Stephen (2003). 2731:Leff (1996), pp. 353–76. 2699:. Harmony. p. 112. 2652:The Euro-American Cinema 2591:Simmons, Jerold (2001). 2426:Doherty, Thomas (1999). 2346:Harmetz, Aljean (2002). 2322:"Three Stooges ..." 2140:Black (1996), pp. 50–51. 2126:Black (1996), pp. 44–45. 2083:Black (1996), pp. 41–42. 1555: 1484:Chicago Board of Censors 1359:In 1963, MPAA president 1345:Pictures at a Revolution 807:Nazi concentration camps 259:Federal Trade Commission 121:and the alleged rape of 3840:Chinese issues overseas 3289:(38) 2: pp. 3–35. 3044:American Jewish History 2947:Hirsch, Foster (2007). 2923:"The Czar of Hollywood" 2543:Canby, Vincent (1992). 2297:(TV documentary movie). 2176:Gardner (1988), pg. 66. 1965:Doherty (1999), p. 107. 1857:Flinders Inst. profile. 1703:Vieira (1999), pp. 7–8. 1408:MPAA film rating system 1101:One Summer of Happiness 773:Dr. Jekyll and Mr. Hyde 581:The Great Train Robbery 417:Rape or attempted rape; 389:Sympathy for criminals; 163:Kenesaw Mountain Landis 153:and former head of the 149:under former President 127:Roscoe "Fatty" Arbuckle 92:MPAA film rating system 3814:Suppression of dissent 3299:Miller, Frank (1994). 3270:Gilbert, Nora (2013). 2689:Nickens, Christopher; 2442:"Remembering ..." 2371:Behlmer, Rudy (1985). 2255:Vieira (1999), p. 188. 2211:LaSalle (2000), p. 77. 2202:LaSalle (2000), p. 20. 2187:"Are You Mad, Doctor?" 2158:Vieira (1999), p. 117. 2092:LaSalle (2000), p. 64. 2074:LaSalle (2000), p. 65. 2056:Doherty (1999), p. 11. 1978:Noriega, Chon (1990). 1866:LaSalle (2000), p. 63. 1818:Jacobs (1997), p. 108. 1694:LaSalle (2000), p. 62. 1518:List of pre-Code films 1226: 1187: 1095: 873: 855:s most famous scenes. 691:The Hollywood Reporter 655: 637: 588:On February 19, 1930, 585: 571: 451: 330: 317:Children's sex organs; 311:and venereal diseases; 125:by popular movie star 119:William Desmond Taylor 114: 48: 32:Production code number 3580:Conspiracy of silence 3570:Collateral censorship 3495:Speech and expression 3206:Hollywood Be Thy Name 3189:Smith, Sarah (2005). 3052:10.1353/ajh.1996.0045 2932:Harris, Mark (2008). 2811:Turner Classic Movies 2626:Bloomsbury Publishing 2149:Jacobs (1997), p. 27. 2044:Doherty (1999), p. 7. 1919:10.1353/crt.2003.0035 1891:Doherty (1999), p. 2. 1882:Doherty (1999), p. 8. 1827:Prince (2003), p. 21. 1774:MPPDA Digital Archive 1745:LaSalle (2002), p. 1. 1736:Prince (2003), p. 31. 1667:Jowett (1989), p. 16. 1658:Prince (2003), p. 20. 1636:Doherty (1999), p. 6. 1500:Comics Code Authority 1417:I Am Curious (Yellow) 1237:Suddenly, Last Summer 1231:Cat on a Hot Tin Roof 1221: 1205:And God Created Woman 1181: 1083: 999:(1948), in which the 861: 651:The Sign of the Cross 643: 630:Bride of Frankenstein 616: 605:' head of production 577: 552: 465:Motion Picture Herald 407:of people or animals; 373:Methods of smuggling; 339: 280: 252:, and E. H. Allen of 159:Major League Baseball 105: 46: 3857:Muhammad controversy 3794:Naturalistic fallacy 3702:computer and network 3208:. Prima Publishing. 3033:"Pre-Code Hollywood" 2977:Jacobs, Lea (1997). 2927:Indianapolis Monthly 2778:"Jesse James (1939)" 2167:Black (1996), p. 52. 2101:Black (1996), p. 43. 1809:Smith (2005), p. 38. 1727:Vieira (1999), p. 8. 1538:Pre-Code crime films 1512:Intimacy coordinator 1470:The Celluloid Closet 1462:The Celluloid Closet 1368:of the non-approved 1200:Kingsley Productions 1172:The Ten Commandments 1005:vertical integration 435:Surgical operations; 377:Third-Degree methods 357:The use of firearms; 342:The use of the Flag; 250:Fox Film Corporation 3852:Internet censorship 3193:. Wiley-Blackwell. 3088:McGilligan, Patrick 3072:Lewis, Jon (2000), 2878:The Washington Post 2649:Lev, Peter (1993). 2294:The Brothers Warner 1400:Metro-Goldwyn-Mayer 1374:Anatomy of a Murder 1288:Anatomy of a Murder 1098:Two Swedish films, 1042:originally part of 752:Tarzan and His Mate 729:Brandeis University 679:agreed and, unlike 482:Metro-Goldwyn-Mayer 242:Metro-Goldwyn-Mayer 167:League Commissioner 3789:Moralistic fallacy 3527:banned video games 3510:banned televisions 3301:Censored Hollywood 2618:Cook, Pam (2007). 2550:The New York Times 2407:on October 1, 2013 2236:Scott (2004, 2010) 2191:The New York Times 1543:Pre-Code sex films 1533:Pre-Code Hollywood 1341:The New York Times 1188: 1111:Summer with Monika 1096: 1091:Summer with Monika 1054:Roberto Rossellini 914:"Baby Face" Nelson 874: 832:The Great Dictator 767:The Maltese Falcon 761:Maureen O'Sullivan 713:The World Moves On 656: 638: 586: 572: 536:Pre-Code Hollywood 530:Pre-Code Hollywood 486:American Red Cross 412:selling her virtue 254:Paramount Pictures 238:Irving G. Thalberg 176:The New York Times 147:Postmaster General 140:Presbyterian elder 115: 109:, a 1940 photo by 88:U.S. Supreme Court 49: 3865: 3864: 3847:Freedom of speech 3692:Strategic lawsuit 3642:National intranet 3590:Damnatio memoriae 3324:978-0-8131-2451-3 3256:American Heritage 3169:978-0-3068-0009-2 3154:978-0-375-42139-6 3100:978-0-06-098827-2 3067:978-0-8131-9011-2 2972:978-1-61060-718-6 2942:978-1-59420-152-3 2936:. Penguin Group. 2916:Los Angeles Times 2898:978-0-231-51284-8 2764:"X Film ..." 2666:978-0-292-76378-4 2635:978-1-8445-7193-2 2514:978-0-813-13841-1 2440:Mondello (2008), 1527:Parental Advisory 1034:, which included 972:Geoffrey Shurlock 939:David O. Selznick 886:exploitation film 821:The Three Stooges 791:Daphne du Maurier 558:(1896), starring 550: 501:Homosexuals were 438:The use of drugs; 151:Warren G. Harding 16:(Redirected from 3950: 3923:Codes of conduct 3804:Propaganda model 3432:Media regulation 3418: 3411: 3404: 3395: 3394: 3385: 2997: 2966:. Zenith Press. 2903:Flinders staff. 2872: 2805:Arnold, Jeremy. 2793: 2792: 2790: 2788: 2773: 2767: 2760: 2754: 2749:Doherty (2007), 2747: 2741: 2738: 2732: 2729: 2723: 2720: 2711: 2710: 2686: 2680: 2677: 2671: 2670: 2646: 2640: 2639: 2615: 2609: 2608: 2588: 2582: 2581: 2561: 2555: 2554: 2540: 2534: 2525: 2519: 2518: 2500: 2494: 2491: 2485: 2484: 2482: 2480: 2466: 2460: 2459: 2451: 2445: 2438: 2432: 2431: 2423: 2417: 2416: 2414: 2412: 2403:. Archived from 2393: 2387: 2386: 2368: 2362: 2361: 2343: 2337: 2331: 2325: 2320:Mushnik (2013), 2318: 2312: 2305: 2299: 2298: 2288: 2282: 2281: 2279: 2277: 2262: 2256: 2253: 2247: 2243: 2237: 2234: 2228: 2223:Doherty (2006), 2221: 2212: 2209: 2203: 2200: 2194: 2183: 2177: 2174: 2168: 2165: 2159: 2156: 2150: 2147: 2141: 2138: 2127: 2124: 2111: 2108: 2102: 2099: 2093: 2090: 2084: 2081: 2075: 2072: 2066: 2063: 2057: 2054: 2045: 2042: 2033: 2030: 2024: 2023: 1975: 1966: 1963: 1957: 1954: 1939: 1938: 1898: 1892: 1889: 1883: 1880: 1867: 1864: 1858: 1855: 1849: 1848: 1846: 1844: 1834: 1828: 1825: 1819: 1816: 1810: 1807: 1798: 1792: 1786: 1785: 1783: 1781: 1766: 1755: 1752: 1746: 1743: 1737: 1734: 1728: 1725: 1716: 1713: 1704: 1701: 1695: 1692: 1686: 1683: 1677: 1674: 1668: 1665: 1659: 1656: 1650: 1645:Gardner (2005), 1643: 1637: 1634: 1623: 1617: 1604: 1601: 1595: 1589: 1583: 1580: 1571: 1568: 1370:Some Like It Hot 1293:Some Like It Hot 1272:The Moon Is Blue 1259:Some Like It Hot 1157:Two 1956 films, 1129:The Leather Boys 1123:A Taste of Honey 1031:The Ways of Love 1016:Vittorio De Sica 912:in July, and of 864:Alfred Hitchcock 854: 823:' short subject 781:Alfred Hitchcock 685:Great Depression 671:Boston Tea Party 646:Cecil B. DeMille 551: 360:Theft, robbery, 320:Ridicule of the 21: 3958: 3957: 3953: 3952: 3951: 3949: 3948: 3947: 3918:Self-censorship 3903:History of film 3868: 3867: 3866: 3861: 3823: 3723: 3682:Self-censorship 3657:Prior restraint 3647:Newspaper theft 3632:Internet police 3565:Chilling effect 3555:Broadcast delay 3533: 3427: 3422: 3383: 3333: 3267: 3265:Further reading 3262: 3031:LaSalle, Mick. 2995: 2870: 2801: 2796: 2786: 2784: 2774: 2770: 2761: 2757: 2748: 2744: 2739: 2735: 2730: 2726: 2721: 2714: 2707: 2687: 2683: 2678: 2674: 2667: 2647: 2643: 2636: 2621:The Cinema Book 2616: 2612: 2605: 2589: 2585: 2578: 2562: 2558: 2541: 2537: 2526: 2522: 2515: 2501: 2497: 2492: 2488: 2478: 2476: 2468: 2467: 2463: 2452: 2448: 2439: 2435: 2424: 2420: 2410: 2408: 2395: 2394: 2390: 2383: 2369: 2365: 2358: 2344: 2340: 2332: 2328: 2319: 2315: 2307:Holden (2008), 2306: 2302: 2290: 2289: 2285: 2275: 2273: 2263: 2259: 2254: 2250: 2244: 2240: 2235: 2231: 2222: 2215: 2210: 2206: 2201: 2197: 2184: 2180: 2175: 2171: 2166: 2162: 2157: 2153: 2148: 2144: 2139: 2130: 2125: 2114: 2109: 2105: 2100: 2096: 2091: 2087: 2082: 2078: 2073: 2069: 2064: 2060: 2055: 2048: 2043: 2036: 2031: 2027: 1996:10.2307/1224848 1976: 1969: 1964: 1960: 1955: 1942: 1899: 1895: 1890: 1886: 1881: 1870: 1865: 1861: 1856: 1852: 1842: 1840: 1836: 1835: 1831: 1826: 1822: 1817: 1813: 1808: 1801: 1793: 1789: 1779: 1777: 1776:. 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Breen 704: 698:followed suit. 540: 538: 532: 527: 495: 478:Irving Thalberg 456: 335: 276: 267: 231:Self-censorship 135:film censorship 100: 57:self-censorship 39: 28: 23: 22: 15: 12: 11: 5: 3956: 3946: 3945: 3940: 3935: 3930: 3925: 3920: 3915: 3910: 3905: 3900: 3895: 3890: 3885: 3883:1930 documents 3880: 3863: 3862: 3860: 3859: 3854: 3849: 3844: 3843: 3842: 3831: 3829: 3825: 3824: 3822: 3821: 3816: 3811: 3806: 3801: 3796: 3791: 3786: 3781: 3776: 3771: 3770: 3769: 3759: 3758: 3757: 3752: 3747: 3737: 3731: 3729: 3725: 3724: 3722: 3721: 3719:Word filtering 3716: 3711: 3710: 3709: 3704: 3694: 3689: 3684: 3679: 3674: 3669: 3664: 3659: 3654: 3649: 3644: 3639: 3634: 3629: 3627:Heckler's veto 3624: 3619: 3614: 3609: 3604: 3603: 3602: 3592: 3587: 3582: 3577: 3572: 3567: 3562: 3557: 3552: 3547: 3541: 3539: 3535: 3534: 3532: 3531: 3530: 3529: 3519: 3514: 3513: 3512: 3502: 3497: 3492: 3487: 3482: 3477: 3472: 3471: 3470: 3460: 3459: 3458: 3448: 3447: 3446: 3435: 3433: 3429: 3428: 3421: 3420: 3413: 3406: 3398: 3392: 3391: 3380: 3375: 3369: 3364: 3359: 3354: 3349: 3344: 3339: 3332: 3331:External links 3329: 3328: 3327: 3312: 3297: 3287:Cinema Journal 3283: 3280:978-0804784207 3266: 3263: 3261: 3260: 3247: 3244:978-0787652838 3232: 3217: 3202: 3187: 3172: 3157: 3142: 3127: 3116: 3103: 3085: 3070: 3055: 3036: 3029: 3011: 2992: 2975: 2960: 2945: 2930: 2919: 2908: 2901: 2882: 2865: 2850: 2844: 2829: 2814: 2802: 2800: 2797: 2795: 2794: 2768: 2755: 2742: 2733: 2724: 2722:Hirsch (2007) 2712: 2705: 2681: 2672: 2665: 2659:. p. 13. 2641: 2634: 2628:. p. 52. 2610: 2603: 2583: 2576: 2556: 2535: 2520: 2513: 2495: 2486: 2461: 2446: 2433: 2418: 2388: 2381: 2363: 2356: 2338: 2326: 2313: 2300: 2283: 2257: 2248: 2238: 2229: 2213: 2204: 2195: 2185:Teresi, Dick. 2178: 2169: 2160: 2151: 2142: 2128: 2112: 2110:Prince. pg. 24 2103: 2094: 2085: 2076: 2067: 2058: 2046: 2034: 2025: 1984:Cinema Journal 1967: 1958: 1940: 1893: 1884: 1868: 1859: 1850: 1829: 1820: 1811: 1799: 1794:Lewis (2000), 1787: 1756: 1747: 1738: 1729: 1717: 1705: 1696: 1687: 1678: 1669: 1660: 1651: 1638: 1624: 1605: 1596: 1584: 1572: 1559: 1557: 1554: 1553: 1552: 1545: 1540: 1535: 1530: 1520: 1515: 1509: 1503: 1497: 1491: 1486: 1481: 1476: 1475: 1474: 1456: 1453: 1420:, directed by 1356: 1353: 1337:The Pawnbroker 1330:Allied Artists 1308:, directed by 1305:The Pawnbroker 1277:United Artists 1267:Otto Preminger 1210:United Artists 1106:Ingmar Bergman 1086:Ingmar Bergman 1050:anthology film 1026:Joseph Burstyn 979: 978:Post-Breen era 976: 964:Louis B. Mayer 953:Johnny Belinda 910:John Dillinger 826:You Nazty Spy! 725:Daniel A. Lord 703: 700: 598:The Blue Angel 570:, and immoral. 564:Edison Studios 534:Main article: 531: 528: 526: 523: 494: 491: 474:Daniel A. 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James" 2804: 2803: 2783: 2779: 2772: 2765: 2759: 2752: 2746: 2737: 2728: 2719: 2717: 2708: 2706:0-517-70112-X 2702: 2698: 2697: 2692: 2685: 2676: 2668: 2662: 2658: 2654: 2653: 2645: 2637: 2631: 2627: 2623: 2622: 2614: 2606: 2600: 2596: 2595: 2587: 2579: 2573: 2569: 2568: 2560: 2552: 2551: 2546: 2539: 2533: 2529: 2524: 2516: 2510: 2506: 2499: 2490: 2475: 2471: 2465: 2457: 2450: 2443: 2437: 2429: 2422: 2406: 2402: 2398: 2392: 2384: 2382:9780670804788 2378: 2374: 2367: 2359: 2357:9780786888146 2353: 2349: 2342: 2336: 2330: 2323: 2317: 2310: 2304: 2296: 2295: 2287: 2272: 2271:dumaurier.org 2268: 2261: 2252: 2242: 2233: 2226: 2220: 2218: 2208: 2199: 2192: 2188: 2182: 2173: 2164: 2155: 2146: 2137: 2135: 2133: 2123: 2121: 2119: 2117: 2107: 2098: 2089: 2080: 2071: 2062: 2053: 2051: 2041: 2039: 2029: 2021: 2017: 2013: 2009: 2005: 2001: 1997: 1993: 1989: 1985: 1981: 1974: 1972: 1962: 1953: 1951: 1949: 1947: 1945: 1936: 1932: 1928: 1924: 1920: 1916: 1912: 1908: 1904: 1897: 1888: 1879: 1877: 1875: 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