Tuesday, December 11, 2007

Breaking the Code Boxed Set: The Hays Code

Hays, or Hayes? I've been spelling it both ways lately. Its definitely Hays, so I don't know why I have a penchant from throwing in the extra "e".
I've been very sick the past few days (although the hospital tests have shown I do not have an ulcer, woohoo!) so I've gotten little to nothing done. Today I broke out of my misery fog, and managed a poor re-hashing of a history of the Hays Code. As listed below. Its meant to be boring I guess and the lay-out will be boring too. It will contrast with the fun-flashiness and literary quality of the following spreads. This article will appear on the first page or the first spread of the booklet.

The History of the Hays Production Code

After being rocked by many sex, murder and drug scandals in the 20’s, the movie industry took steps to clean up its image. William H. Hays, President Warren G. Harding’s campaign manager, wrote a set of strict guideliness for movies to follow in 1927. He spent the next several years trying to get it enforced. The newly formed Motion Picture Associate of America (MPAA) adopted the Hays Code in 1930. The Code was also backed up by the newly formed Catholic Legion of Decency which felt there was a moral obligation to the members of their church. In June of 1934, a Production Code Administration was created and the Code began to be enforced. Filmmakers had to preview their films to the administration, the result of which was either a certificate of approval that allowed for public viewing of said film or the call to the filmmaker to reshoot or edit their films for content.

The details of the codes were specific, denouncing many particulars of violence, sex and morality that would forbidden to be shown on screen. It functioned off of three basic principles. The first was the prevention of lowering the moral standards of any potential audience members. The second was to have films show "correct" standards of living in good light. The third was that law and authority were not to be ridiculed and thus encourage law-breaking of any sort.

In the late ‘50s, Hollywood filmmakers were under increasing competition from television and foreign movies for their audiences. Televisions were convenient and foreign movies were not under the Production Code’s regulations and the government could not prevent these films from being shown in American theaters. Because of this filmmakers, felt the pressure to give their films an edge, which often meant exploring subject matter that was controversial. In 1952, a US Supreme Court ruling under Joseph Burstyn, Inc v. Wilson overruled the 1915 decision that claimed motion pictures were not viable under First Amendment protection. This weakened the now dying power of the Code. The most outspoken director of them all was Otto Preminger, whose films such as The Moon is Blue (1953), The Man with the Golden Arm (1955) and Anatomy of a Murder (1959) seemed to give the middle finger to the Code.

At the turn of the decade, from the ‘50s to the ‘60s, films started to release even without the Code’s certificate of approval, weakening its authority. By the ‘60s, filmmakers started blatantly ignoring the code and exploring all sorts of themes including sex, race, culture, gender and violence. The reign of the code ended with the seminal film Blowup in 1967. It was released by MGM, who had been abiding by the Code for many years, without a certificate. After that, enforcement became impossible and the MPAA abandoned the Code in favor of the tiered rating system we have today (i.e. G, PG, PG-13, R, NC-17, etc).

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