Misplaced Pages

#545454

116-660: In 2013, CODA merged with Anti-Counterfeiting Association (ACA), in order to strengthen their capability for copyright protection and offer comprehensive measures against copyright infringement in Japan as well as overseas. In 2022, CODA established the International Anti-Piracy Organization (IAPO), with associating 32 members, the Motion Picture Association , and Copyright Society of China within approximately 450 members. Content Japan (or CJ Mark )

232-565: A Jesuit, wrote: "Silent smut had been bad. Vocal smut cried to the censors for vengeance." Thomas Doherty, Professor of American studies at Brandeis University , 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". Joseph I. Breen ,

348-539: A board. In 1924, Hays instituted "The Formula", a loose set of guidelines for filmmakers, in an effort to get the movie industry to self-regulate the issues that the censorship boards had been created to address. "The Formula" requested that studios send synopses of films being considered to the MPPDA for review. This effort largely failed, however, as studios were under no obligation to send their scripts to Hays's office, nor to follow his recommendations. In 1927, Hays oversaw

464-454: A cinematically inspired thought crime". 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 permissible. Any sexual act considered perverted, including any suggestion of same-sex relationships, sex or romance,

580-455: A code of conduct for Hollywood's actors in an attempt to govern their behavior offscreen. Finally, the code sought to protect American film interests abroad by encouraging film studios to avoid racist portrayals of foreigners. From the early days of the association, Hays spoke out against public censorship , and the MPPDA worked to raise support from the general public for the film industry's efforts against such censorship. Large portions of

696-453: A film that ridiculed law enforcement and often used racial epithets. However, the Legion's condemnation of the film did not attract a unified response from religious authorities, some of which considered that other films, including The Ten Commandments (released that same year), had a similar amount and intensity of sensuous content. During the 1950s, studios found ways of both complying with

812-505: A film to be shown. At the same time, Hays promoted the industry's new focus on wholesome films and continued promoting American films abroad. For nearly three years, studios complied with the Code. By 1938, however, as the threat of war in Europe loomed, movie producers began to worry about the possibility of decreased profits abroad. This led to a decreased investment in following the strictures of

928-402: A major element from Daphne du Maurier 's 1938 novel 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 after would have been a flagrant violation of

1044-593: A multiplicity of versions of films made for national distribution. Self-censorship was deemed a preferable outcome. In 1927, Hays suggested to studio executives that they form a committee to discuss film censorship. Irving G. Thalberg of Metro-Goldwyn-Mayer , Sol Wurtzel of Fox Film Corporation , and E. H. Allen of Paramount Pictures 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

1160-508: A number of Protestant and women's groups, launched plans to boycott films that they deemed immoral. In order to avert boycotts which might further harm the profitability of the film industry, the MPPDA created a new department, the Production Code Administration (PCA), with Joseph Breen as its head. Unlike previous attempts at self-censorship, PCA decisions were binding—no film could be exhibited in an American theater without

1276-517: A parent or adult 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. In 1969, the Swedish film I Am Curious (Yellow) , directed by Vilgot Sjöman ,

SECTION 10

#1733117078546

1392-494: 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 Betty Boop had to change her characteristic flapper personality and dress, adopting an old-fashioned, near-matronly appearance. However, by 1934, the prohibition against miscegenation

1508-566: A public audience in the United States. From 1934 to 1954, the code was closely associated with Joseph Breen , 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 Otto Preminger ) pushing boundaries, and intervention from

1624-629: A return to the MPA for MGM, currently a division of Amazon MGM Studios, after it lost membership in 2005 following a buyout led by Sony. The MPA's concerted efforts at fighting copyright infringement began in 1975 with the establishment of the Film Security Office, which sought to recover unauthorized recordings of films in order to prevent duplication. The MPA has continued to pursue a number of initiatives to combat illegal distribution of films and TV shows, especially in response to new technologies. In

1740-671: A seal of approval. The film eventually got a general release in 1946. The David O. Selznick production Duel in the Sun was also released in 1946 without the approval of the Hays Office, featuring several on-screen deaths, adultery and displays of lust. 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 Johnny Belinda (1948) and Pinky (1949), respectively. In 1951,

1856-577: A set of recommendations dubbed "the Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the plots of films they were planning on producing. In 1915, the Supreme Court had decided unanimously in Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures. While there had been token attempts to clean up

1972-423: A specific audience of views including, women, children, lower-class, and those of "susceptible" minds, 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

2088-504: A stamp of approval from the PCA, and any producer attempting to do so faced a fine of $ 25,000. After ten years of unsuccessful voluntary codes and expanding local censorship boards, the studio approved and agreed to enforce the codes, and the nationwide "Production Code" was enforced starting on July 1, 1934. In the years that immediately followed the adoption of the Code, Breen often sent films back to Hollywood for additional edits, and in some cases, simply refused to issue PCA approval for

2204-588: 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. United Artists followed suit and bought art film distributor Lopert Films in 1958, and within a decade all the major studios were distributing foreign art films. Author Peter Lev writes: 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. Beginning in

2320-661: Is also popularly known as the Hays Code , after Will H. Hays , 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 Motion Picture Association (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

2436-509: Is not even a joke any more; it's just a memory"; two years later Variety followed suit. On June 13, 1934, an amendment to the Code was adopted, which established the Production Code Administration (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

SECTION 20

#1733117078546

2552-576: The Digital Millennium Copyright Act (DMCA). The MPA has continued to support law enforcement efforts to prevent illegal distribution of copyrighted materials online. The MPA and its British counterpart, the Federation Against Copyright Theft (FACT), also funded the training of Lucky and Flo , a pair of Labrador Retrievers , to detect polycarbonates used in the manufacturing of DVDs. The MPA strives to protect

2668-490: The Holocaust film The Pawnbroker , directed by Sidney Lumet and starring Rod Steiger , was initially rejected because of two scenes in which actresses Linda Geiser and Thelma Oliver fully expose their breasts, and also because of a sex scene between Oliver and Jaime Sánchez that was described as "unacceptably sex suggestive and lustful". Despite the rejection, the film's producers arranged for Allied Artists to release

2784-585: The United States , the mini-major Amazon MGM Studios , as well as the video streaming services Netflix and Amazon Prime Video . Founded in 1922 as the Motion Picture Producers and Distributors of America ( MPPDA ) and known as the Motion Picture Association of America ( MPAA ) from 1945 until September 2019, its original goal was to ensure the viability of the American film industry . In addition,

2900-588: The United States Supreme Court ruled that such copying constituted fair use . The MPA continued to support law enforcement efforts to stop bootleg production and distribution of videotapes and laserdiscs into the 1990s, and in 2000 took successful legal action against individuals posting DVD decryption software on the Internet in Universal City Studios, Inc. v. Reimerdes . Following

3016-409: The film industry had always been morally questionable, and political pressure was increasing, with legislators in 37 states introducing almost one hundred film censorship 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

3132-553: The rating system was first introduced in November 1968, it has gone through several changes, including the addition of a PG-13 rating. The ratings system is completely voluntary, and ratings have no legal standing. Instead, the American film industry enforces the MPAA film ratings after they have been assigned, with many theaters refusing to exhibit non-rated films. For example, it is against

3248-564: The "X" rating, which had come to be closely associated with pornography. It was replaced with a new rating, "NC-17", in 1990. In 1994, the Motion Picture Export Association of America changed its name to the Motion Picture Association to more accurately reflect the global nature of audiovisual entertainment in today's international marketplace. In 2001, Valenti established the Digital Strategy Department at

3364-550: The 1920s, the New York stage, a frequent source of subsequent screen material, had topless shows, performances filled with curse words , 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 Kansas . Filmmakers were facing the possibility that many states and cities would adopt their own codes of censorship, necessitating

3480-573: The 1980s, it spoke out against VCRs and the threat that the MPA believed they represented to the movie industry, with MPAA president Jack Valenti drawing a parallel between the threat of the VCR and that of the Boston Strangler . In 1986, the MPAA asked Congress to pass a law that would require VCRs to come equipped with a chip to prevent them from making copies. Legal efforts at stopping homemade copies of broadcast television largely ended, however, when

3596-442: The American film industry's policy to admit unaccompanied children to an R-rated film. An unrated film is often denoted by "NR", such as in newspapers, although this is not a formal MPAA rating. In 2006, the film This Film Is Not Yet Rated alleged that the MPAA gave preferential treatment to member studios during the process of assigning ratings, as well as criticizing the rating process for its lack of transparency. In response,

Content Overseas Distribution Association - Misplaced Pages Continue

3712-491: 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 of the non-approved Some Like It Hot and Anatomy of a Murder . In 1966, Warner Bros. released Who's Afraid of Virginia Woolf? ,

3828-508: The Chinese government to both crack down on piracy and further open its film market. A settlement of a long-argued World Trade Organization complaint, coupled with Dodd's efforts, contributed to the United States' agreement with China in 2012 to open China's film market to more Hollywood films and to increase U.S. studios' share of box-office revenues in China. In addition to this agreement with China,

3944-498: The Code were rewritten to accept subjects such as miscegenation, adultery, and prostitution. For example, a proposed remake of Anna Christie , 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. Two 1956 films, The Bad Seed and Baby Doll , generated great controversy involving

4060-518: 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 2020 remake , not bound by the Code, restored du Maurier's original plot element. The PCA also engaged in political censorship. When Warner Bros. wanted to make a film about Nazi concentration camps , the production office forbade it, citing the prohibition on depicting "in an unfavorable light" another country's "institutions [and] prominent people", with threats to take

4176-514: 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 John Dillinger in July, and of "Baby Face" Nelson 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. However, the most famous defiance of the code

4292-554: The Code, such as Vittorio De Sica 's Bicycle Thieves (1948), released in the United States in 1949. In 1950, film distributor Joseph Burstyn released The Ways of Love , which included The Miracle , a short film originally part of L'Amore (1948), an anthology film directed by Roberto Rossellini . This segment was considered to mock the Nativity, so the New York State Board of Regents (in charge of film censorship in

4408-504: The Code. "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": "Special care [must be] 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": In 1929, Catholic layman Martin Quigley , editor of

4524-716: The MPA established guidelines for film content which resulted in the creation of the Motion Picture Production Code in 1930. This code, also known as the Hays Code, was replaced by a voluntary film rating system in 1968, which is managed by the Classification and Rating Administration (CARA). The MPA has advocated for the motion picture and television industry, with the goals of promoting effective copyright protection, expanding market access and has worked to curb copyright infringement , including attempts to limit

4640-419: The MPAA approval was "the first of a series of injuries to the Production Code that would prove fatal within three years". In 1963, MPAA president Eric Johnston , 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 Jack Valenti as

4756-475: The MPAA in 1995, but was purchased in 1996 by Time Warner. The number of members dropped to six in 2005, following Sony's failed attempt to acquire MGM. The MPAA's member companies remained intact until the 2019 acquisition of 21st Century Fox by Disney , including 20th Century Fox. Netflix was approved as a new member in January 2019, making it the first non-studio and the first streaming service to be part of

Content Overseas Distribution Association - Misplaced Pages Continue

4872-402: The MPAA in an effort to identify itself among the major studios. In September 2019, the association updated its branding to reflect the global nature of the film, television, and streaming industry, officially changing its name to the Motion Picture Association (MPA), a name which it has used internationally since 1994. An updated logo also went into effect at this time. In September 2024, it

4988-425: The MPAA posted its ratings rules, policies, and procedures, as well as its appeals process, online. According to the MPA, the ratings are made by an independent group of parents. According to a 2015 study commissioned by CARA, ninety-three percent of parents in the U.S. find the rating system to be a helpful tool. The ratings currently used by the MPA's voluntary system are: On the box: "All ages admitted" On

5104-447: 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 Louis B. Mayer , one of Breen's foremost allies, was ousted after a series of disputes with the studio's production head, Dore Schary , 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 Geoffrey Shurlock

5220-523: The MPAA to specifically address issues surrounding digital film distribution and piracy. After serving as president of the MPAA for 38 years, Valenti announced that he would step down in 2004. In September of that year, he was replaced by former Secretary of Agriculture Dan Glickman . During his tenure, Glickman focused on tax issues, content protection efforts, and increasing U.S. studios' access to international markets. He led lobbying efforts that resulted in $ 400 million in federal tax incentives for

5336-768: The MPAA, Dodd also highlighted the need for film studios to embrace technology as a means of distributing content. In June 2017, the MPAA supported the launch of the Alliance for Creativity and Entertainment (ACE), a coalition of entertainment companies, including the six major studios, Netflix and Amazon , that would draw on the MPAA's resources in an effort to reduce online piracy through research and legal efforts. Former U.S. diplomat and Assistant Secretary of State for Economic and Business Affairs Charles Rivkin succeeded Chris Dodd as CEO on September 5, 2017, and as chairman effective December 6, 2017. On January 25, 2019, film streaming service Netflix announced that it had joined

5452-440: The MPAA, Johnston died of a stroke. For three years, the MPAA operated without a president while studio executives searched for a replacement. The MPAA appointed Jack Valenti , former aide to President Lyndon Johnson , as president of the MPAA in 1966. In 1968, Valenti replaced the Production Code with a system of voluntary film ratings , in order to limit censorship of Hollywood films and provide parents with information about

5568-489: The MPAA, which sought to recover unauthorized recordings of films to prevent duplication. Valenti continued to fight piracy into the 1980s, asking Congress to install chips in VCRs that would prevent illegal reproduction of video cassettes, and in the 1990s supported law enforcement efforts to stop bootleg distribution of video tapes. Valenti also oversaw a major change in the ratings system that he had helped create—the removal of

5684-543: The MPEA voted to discontinue film shipments to Britain after the British government imposed an import tax on American films. Johnston negotiated with the British government to end the tax in 1948, and film shipments resumed. In 1956, Johnston 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

5800-422: 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 appeal to all individuals in the audiences. 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

5916-511: The MPPDA hired Eric Johnston , four-time president of the United States Chamber of Commerce , to replace Hays. During his first year as president, Johnston rebranded the Motion Picture Producers and Distributors of America as the Motion Picture Association of America (MPAA). He also created the Motion Picture Export Association (MPEA) to promote American films abroad by opposing production company monopolies in other countries. In 1947

SECTION 50

#1733117078546

6032-495: The MPPDA received only about 20 percent of Hollywood scripts prior to production, and the number of regional and local censorship boards continued to increase. In 1930, the MPPDA introduced the Motion Picture Production Code, commonly called the Hays Code . The Code consisted of moral guidelines regarding what was acceptable to include in films. Unlike the "Dont's and Be Carefuls", which the studios had ignored,

6148-434: 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

6264-539: The Production Code was endorsed by studio executives. The Code incorporated many of the "Don'ts and Be Carefuls" as specific examples of what could not be portrayed. Among other rules, the code prohibited inclusion of "scenes of passion" unless they were essential to a film's plot; "pointed profanity" in either word or action; "sex perversion"; justification or explicit coverage of adultery; sympathetic treatment of crime or criminals; dancing with "indecent" moves; and white slavery. Because studio executives had been involved in

6380-519: The U.S. signed more than 20 memos of understanding with foreign governments regarding the enforcement of intellectual property rights during Dodd's tenure at the MPAA. In 2011, the MPAA supported the passage of the Stop Online Piracy Act (SOPA) and PROTECT IP Act (PIPA). After the two bills were shelved in early 2012, Dodd indicated that Hollywood might cut off campaign contributions to politicians who failed to support anti-piracy efforts in

6496-420: The U.S., films were often edited to comply with local laws regarding the onscreen portrayal of violence and sexuality, among other topics. This resulted in negative publicity for the studios and decreasing numbers of theater goers, who were uninterested in films that were sometimes so severely edited that they were incoherent. In 1929, more than 50 percent of American moviegoers lived in a location overseen by such

6612-452: The appeals process ultimately put the responsibility for making the final decision in the hands of the studios. 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 Victorian era was sometimes ridiculed as being naïve and backward. When the Code was announced,

6728-401: The appropriateness of films for children. In addition to concerns about protecting children, Valenti stated in his autobiography that he sought to ensure that American filmmakers could produce the films they wanted, without the censorship that existed under the Production Code that had been in effect since 1934. In 1975, Valenti established the Film Security Office, an anti-piracy division at

6844-414: The audience feels sure that evil is wrong, and good is right". On February 19, 1930, Variety 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. The Blue Angel ,

6960-540: 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. Homosexuals were de facto included under the proscription of sex perversion, and the depiction of miscegenation (by 1934, defined only as sexual relationships between black and white races)

7076-506: The beginning that the Code would be difficult to enforce. The Great Depression 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, The Hollywood Reporter mocked the code and quoted an anonymous screenwriter saying that "the Hays moral code

SECTION 60

#1733117078546

7192-636: The boundaries of the 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. The MPAA film rating system 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

7308-507: The box: "Some material may not be suitable for children" On the box: "Some material may be inappropriate for children under 13" On the box: "Under 17 requires accompanying parent or adult guardian" On the box: "No One 17 and Under Admitted" The original MPAA members were the "Big Eight" film studios: Paramount Pictures , Fox Film , Loews , Universal Pictures , and United Artists , followed by Warner Bros. in 1923, Columbia Pictures in 1924, along with Metro-Goldwyn-Mayer (formed by

7424-456: The code, and occasional refusals to comply with PCA demands. That same year, responding to trends in European films in the run-up to the war, Hays spoke out against using movies as a vehicle for propaganda . In 1945, after nearly 24 years as president, Hays stepped down from his position at the MPPDA, although he continued to act as an advisor for the Association for the next five years. In 1945

7540-421: The code, while at the same time circumventing it. In 1956, Columbia acquired an art-house distributor, Kingsley Productions , that specialized in importing foreign art films, in order to distribute and capitalize on the notoriety of the film And God Created Woman (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

7656-528: The courts, including the U.S. Supreme Court . In 1968, after several years of minimal enforcement, the Production Code was replaced by the MPAA film rating system . In the 1920s, Hollywood was rocked by a number of notorious scandals, such as the murder of William Desmond Taylor and the alleged rape of Virginia Rappe by popular movie star Roscoe "Fatty" Arbuckle , which brought widespread condemnation from religious, civic and political organizations. Many felt that

7772-410: The creation of a code of "Don'ts and Be Carefuls" for the industry. This list outlined the issues that movies could encounter in different localities. Hays also created a Studio Relations Department (SRD) with staff available to the studios for script reviews and advice regarding potential problems. Again, despite Hays' efforts, studios largely ignored the "Don'ts and Be Carefuls", and by the end of 1929,

7888-438: The creative rights of the large corporate film makers. Its counterpart has come up with infamous slogans such as " Who Makes Movies? " and " You can click, but you can't hide ". In the early 2000s, the MPAA began focusing its efforts to curb copyright infringement specifically on peer-to-peer file sharing , initially using a combination of educational campaigns and cease and desist letters to discourage such activity. In

8004-554: The decision to adopt the code, MPPDA-member studios were more willing to submit scripts for consideration. However, the growing economic impacts of the Great Depression of the early 1930s increased pressure on studios to make films that would draw the largest possible audiences, even if it meant taking their chances with local censorship boards by disobeying the Code. In 1933 and 1934, the Catholic Legion of Decency , along with

8120-486: The ending with Rick's noble renunciation, one of Casablanca ' s most famous scenes. 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 clever. And it usually turned out to be much better than if we had done it straight." Outside

8236-466: The film industry, and also supported a law which created federal oversight of anti-piracy efforts. Glickman stepped down in 2010. After a search which lasted over a year, the MPAA hired former U.S. Senator Chris Dodd to replace Glickman in March 2011. In his role as president, Dodd focused on content protection, trade, and improving Hollywood's image. He traveled to China in 2011 in an effort to encourage

8352-484: 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 scenes which the Production Code Administration found unapprovable". The requested reductions of nudity were minimal, and

8468-629: The films before (such as when the studios formed the National Association of the Motion Picture Industry (NAMPI) in 1916), little had come of the efforts. New York became the first state to take advantage of the Supreme Court's decision by instituting a censorship board in 1921. Virginia 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

8584-437: The films made in the United States. Former Postmaster General Will H. Hays was named the association's first president. The main focus of the MPPDA in its early years was on producing a strong public relations campaign to ensure that Hollywood remained financially stable and able to attract investment from Wall Street , while simultaneously ensuring that American films had a "clean moral tone". The MPPDA also instituted

8700-421: 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

8816-502: 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. That same year, the British-produced, American-financed film Blowup

8932-405: The first six months of 2002, the MPAA sent more than 18,000 such letters to internet service providers to forward to users engaged in copyright infringement. Hays Code The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content that was applied to most motion pictures released by major studios in the United States from 1934 to 1968. It

9048-674: The following decade, new members joining the MPAA included Avco Embassy in 1975 and Walt Disney Studios in 1979. The next year, Filmways became a MPAA member, but was later replaced in 1986 along with Avco Embassy when the De Laurentiis Entertainment Group and Orion Pictures joined the MPAA roster. As of 1995, the MPAA members were MGM—which included United Artists after their 1981 merger, Paramount, Sony Pictures —which included Columbia and TriStar Pictures after their 1989 acquisition, 20th Century Fox, Universal, Disney, and Warner Bros. Turner Entertainment joined

9164-570: The future. In 2012, the MPAA launched the Diversity and Multicultural Outreach program, as part of an effort to increase diversity in the television and film industry both through employment and representation on screen. Since its inception, the Diversity and Multicultural and Outreach group has conducted outreach and partnered with more than 20 multicultural groups and national civil rights organizations in sponsoring film screenings, festivals, and other diversity-themed events. Throughout his tenure at

9280-483: The integrity of baseball in the wake of the 1919 World Series gambling scandal ; The New York Times 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 Motion Picture Producers and Distributors of America (MPPDA), where he "defended the industry from attacks, recited soothing nostrums, and negotiated treaties to cease hostilities". In 1924, Hays introduced

9396-679: The late 1950s, increasingly explicit films began to appear, such as Cat on a Hot Tin Roof (1958), Suddenly, Last Summer (1959), Psycho (1960), and The Dark at the Top of the Stairs (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, Billy Wilder 's Some Like It Hot (1959)

9512-511: The liberal periodical The Nation 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 Boston Tea Party could not be portrayed. If clergy must always be presented in a positive way, then hypocrisy could not be dealt with either. The Outlook agreed and, unlike Variety , predicted from

9628-477: The mainstream studio system, the code was sometimes flouted by Poverty Row studios, while exploitation film presenters operating on the territorial (state-rights) distribution system openly violated it through the use of loopholes, masquerading the films as morality tales or muckraking exposés . One example of this is Child Bride (1938), which featured a nude scene involving a twelve-year-old child actress ( Shirley Mills ). Newsreels were mostly exempt from

9744-689: 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 FBI unearthed and prosecuted a Nazi spy ring, subsequently allowing Warner to produce Confessions of a Nazi Spy (1939), with The Three Stooges ' short subject You Nazty Spy! (1940) being the first Hollywood film of any sort to openly spoof the Third Reich's leadership, followed soon after by The Great Dictator . Breen's power to change scripts and scenes angered many writers, directors and Hollywood moguls . Breen influenced

9860-416: The merger of Loews, Metro Pictures , Goldwyn Pictures , and Louis B. Mayer Productions ), and RKO Pictures in 1928. Then came the 1935 merger of Fox Film and 20th Century Pictures into 20th Century Fox . United Artists briefly resigned from the organization in 1956 over a ratings dispute, although they rejoined later in the decade. By 1966, Allied Artists Pictures had joined the original members. In

9976-403: The organization. The addition of Netflix also helped to maintain the number of members after the acquisition of 20th Century Fox by Disney. The MPA aims to recruit additional members. In September 2024, it was announced that Amazon MGM Studios and Prime Video would join the MPA as its seventh member starting October 1, the second non-studio to do so after Netflix in 2019; this would also mark

10092-459: The outcome was viewed in the media as a victory for the film's producers. The Pawnbroker 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 The New York Times at the time as "an unprecedented move that will not, however, set a precedent". In Pictures at a Revolution , a 2008 study of films during that era, Mark Harris wrote that

10208-539: 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 studios to remake some of its early 1930s-era films in later years: 1941 saw the release of remakes of The Maltese Falcon and Dr. Jekyll and Mr. Hyde , both having had very different pre-Code versions released ten years prior. The Hays Code also required changes regarding adaptations of other media. For instance, Alfred Hitchcock 's Rebecca could not retain

10324-524: The preferable option, enlisting Presbyterian elder Will H. Hays , Postmaster General under former President Warren G. Harding and former head of the Republican National Committee , to rehabilitate Hollywood's image. The move mimicked the decision that Major League Baseball had made in hiring judge Kenesaw Mountain Landis as League Commissioner the previous year to quell questions about

10440-572: The prejudices against homosexuals , all in clear violation of the Hollywood Production Code. Furthermore, the postwar years saw a gradual, if moderate, liberalization of American culture. A boycott by the National Legion of Decency 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

10556-530: The production of Casablanca (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

10672-455: The prominent trade paper Motion Picture Herald , and Jesuit priest Father Daniel A. Lord , 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 Irving Thalberg of Metro-Goldwyn-Mayer , met with Lord and Quigley. After some revisions, they agreed to

10788-427: The public opposed censorship, but also decried the lack of morals in movies. The organisation also had formed a trust to block out Independents and enforce the monopolistic studio system . At the time of the MPPDA's founding, there was no national censorship, but some state and municipal laws required movies to be censored, a process usually overseen by a local censorship board. As such, in certain locations in

10904-599: The release of RealDVD —an application that enabled users to make copies of DVDs— RealNetworks sued the DVD Copy Control Association and the major studios in 2008 over the legality of the software, accusing them of violating the Sherman Antitrust Act . The judgment found there were no grounds for the antitrust claim and dismissed the suit . The court later found that the RealNetworks product violated

11020-540: The severity of horror elements in PG-rated titles such as Gremlins and Indiana Jones and the Temple of Doom , 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 pornography ; as the X rating was not trademarked by the MPAA (which expected producers would prefer to self-rate such product), it

11136-439: The sharing of copyrighted works via peer-to-peer file sharing networks and by streaming from pirate sites. Former United States Ambassador to France Charles Rivkin is the chairman and CEO. The MPA was founded as the Motion Picture Producers and Distributors of America (MPPDA) in 1922 as a trade association of member motion picture companies. At its founding, MPPDA member companies produced approximately 70 to 80 percent of

11252-410: The state) revoked the film's license. The ensuing lawsuit, Joseph Burstyn, Inc. v. Wilson (dubbed the "Miracle Decision"), was resolved by the Supreme Court in 1952, which unanimously overruled its 1915 decision ( Mutual Film Corporation v. Industrial Commission of Ohio ), and held that motion pictures were entitled to First Amendment protection, and thus the short could not be banned. This reduced

11368-501: 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 American Red Cross Executive Secretary) to supervise film production and advise the studios when changes or cuts were required. On March 31,

11484-470: 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 Warner Bros. ' head of production Darryl Zanuck 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,

11600-607: 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. Two Swedish films, One Summer of Happiness (1951), and Ingmar Bergman 's Summer with Monika (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 Victim (1961), A Taste of Honey (1961), and The Leather Boys (1964), challenged traditional gender roles , and openly confronted

11716-436: 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. Johnston was well-liked by studio executives, and his political connections helped him function as an effective liaison between Hollywood and Washington. In 1963, while still serving as president of

11832-456: Was The World Moves On (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 Hollywood studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation. Father Daniel A. Lord ,

11948-431: Was announced Amazon MGM Studios would join the MPA, making the seventh member in the entertainment policy group. In 1968, the MPAA established the Code and Rating Administration, or CARA (later renamed the Classification and Rating Administration), which began issuing ratings for films exhibited and distributed commercially in the United States to help parents determine what films are appropriate for their children. Since

12064-460: Was appointed as his successor. Hollywood continued to work within the confines of the Production Code throughout the late 1940s and 1950s, but during this time, the film industry was faced with very serious competitive threats. The first threat came from television , 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

12180-599: Was approved by the Federal Trade Commission (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. 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

12296-468: Was clear that those individuals portrayed as villains were the exceptions to the rule. 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 theme was "that throughout,

12412-497: Was created in 2005 by the Anti-Counterfeiting Association, it can be seen on packages in music, videos and other media. This article about an organization or organization-related topic in Japan is a stub . You can help Misplaced Pages by expanding it . Motion Picture Association The Motion Picture Association ( MPA ) is an American trade association representing the five major film studios of

12528-407: Was defined only as sexual relationships between black and white races. The first major instance of censorship under the Production Code involved the 1934 film Tarzan and His Mate , in which brief nude scenes involving a body double for actress Maureen O'Sullivan were edited out of the master negative of the film. By the time the Code became fully functional by January 1935, several films from

12644-399: Was denied Production Code approval for its various instances of nudity, foreplay and intercourse. Metro-Goldwyn-Mayer 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

12760-408: 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

12876-415: 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

12992-446: 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. At the forefront of contesting the Code was director Otto Preminger , whose films violated the Code repeatedly in the 1950s. His 1953 film The Moon Is Blue , 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,

13108-527: Was released without a certificate of approval by United Artists , the first production distributed by a member of the MPAA to do so. He later made The Man with the Golden Arm (1955), which portrayed the prohibited subject of drug abuse, and Anatomy of a Murder (1959), which dealt with murder and rape. Like Some Like It Hot , Preminger's films were direct assaults on the authority of the Production Code, and their success hastened its abandonment. In 1964,

13224-473: Was ruled out. 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 could not be portrayed as comic characters or villains. Under some circumstances, politicians, police officers, and judges could be villains, as long as it

13340-426: Was the case of The Outlaw , a western produced by Howard Hughes , which was denied a certificate of approval after it was completed in 1941 since the film's advertising focused particular attention on Jane Russell '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

13456-568: Was under an even more restrictive censorship code. In addition to the threat of television, the industry was enduring a period of economic difficulties that were compounded by the result of United States v. Paramount Pictures, Inc. (1948), in which the Supreme Court outlawed vertical integration as it had been found to violate anti-trust laws, and studios were not only forced to give up ownership of theaters, but they were also unable to control what exhibitors offered. This led to increasing competition from foreign films which were not bound by

#545454