The History of Hollywood Censorship and the Ratings System

The History of Hollywood Censorship and the Ratings System

The Story of Hollywood Censorship and the Movie Rating System

Origins of Film Censorship

John Hess introduces the topic, discussing how cinema emerged as an art form during the industrial revolution, facilitated by advancements in technology.

The late 19th and early 20th centuries saw social progressivism aiming for positive change through regulation; Maine passed the first film censorship law in 1897 concerning boxing.

Early Legal Challenges

Prize fighting was illegal except in Nevada; a significant fight between Corbett and Fitzsimmons was filmed, leading to increased interest despite legal restrictions.

Following this fight, Maine enacted a law fining those who exhibited boxing films, but enforcement proved difficult due to boxing's popularity.

Municipal Censorship Developments

In 1907, Chicago empowered its police chief to regulate movie permits based on moral grounds, marking one of the first instances of municipal censorship.

New York City followed suit in 1908 with Mayor McClellan revoking theater licenses over safety and moral concerns, impacting over 550 establishments.

Formation of Censorship Boards

The People's Institute collaborated with various reform groups to create the New York Board of Motion Picture Censorship to review films and recommend cuts.

This board gained national influence as it evolved into the National Review Board but faced increasing pressure from state-level censorship initiatives.

Landmark Supreme Court Case

The Mutual Film Corporation v. Ohio Industrial Commission case (1915) challenged state censorship fees on First Amendment grounds but resulted in a ruling that movies were not considered free speech.

This decision allowed government control over film content, setting the stage for future censorship debates amid rising scandals in Hollywood.

Scandals Prompting Industry Response

High-profile scandals involving celebrities like Fatty Arbuckle and William Desmond Taylor led to public outcry and numerous Congressional bills aimed at regulating Hollywood.

To avoid federal intervention, studios formed the MPPDA in 1922 to manage public relations and lobby against censorship pressures from Washington.

Establishment of Production Codes

William H. Hays was appointed by MPPDA as a PR figurehead; he created guidelines known as "Don't and Be Careful" lists addressing sensitive topics for filmmakers.

Despite initial efforts at self-regulation through these lists, they lacked enforcement power leading to ongoing issues with content oversight amidst evolving cinematic technologies like sound.

Introduction of Hays Code

In response to growing concerns about film content following technological advancements such as sound, MPPDA issued the Motion Picture Production Code (Hays Code).

Although initially ineffective due to lackluster enforcement by an understaffed committee, organized opposition from religious groups would soon elevate its significance.

The Evolution of Film Censorship and the Production Code

The Rise of the Production Code

In 1934, the Legion of Decency, supported by Protestant and Jewish organizations, initiated boycotts against films deemed unacceptable, pressuring Hollywood studios already struggling from the Great Depression.

The Hays Office established the Production Code Administration (PCA), led by Joseph I. Breen, granting it authority to review scripts and final cuts for moral content.

Breen enforced strict guidelines prohibiting explicit depictions of passion; themes like adultery and rape could only be suggested if essential to the plot and always punished.

The code banned profanity, racial slurs, drug use implications, nudity, and detailed crime portrayals; law enforcement could not be shown dying at a criminal's hands.

Studios adopted this self-censorship to avoid government intervention, appease religious groups during economic instability, and streamline storytelling for mass production.

Challenges to the Production Code

By the 1940s, challenges emerged against the PCA's rigid standards; Howard Hughes' film "The Outlaw" faced significant censorship due to its focus on Jane Russell's physicality.

After multiple reshoots requested by the Breen Office and state censorship issues, "The Outlaw" was delayed until its limited release in 1943 through United Artists.

Legal battles over censorship began as Hughes' film gained popularity despite PCA disapproval; this marked a shift in public perception regarding censorship power.

The Supreme Court case Joseph Burstyn v. Wilson (1952), known as the Miracle Decision, ruled that motion pictures are protected under free speech rights.

As studios lost control over theaters post-Supreme Court ruling, they began showing unapproved films leading to a gradual erosion of the Production Code’s influence.

Transitioning from Censorship to Ratings

Otto Preminger's "The Moon is Blue" (1953), which defied PCA restrictions on seduction themes, became a hit without PCA approval—signaling changing audience expectations.

Other successful films like "Man with the Golden Arm" (1955) also bypassed PCA approval while addressing controversial subjects such as drug addiction openly.

By the 1960s, filmmakers increasingly disregarded strict codes; notable successes included British films featuring nudity that challenged existing norms within cinema.

In 1968, MPAA chairman Jack Valenti introduced a voluntary rating system with categories ranging from G to X; confusion around ratings led to further adjustments including GP becoming PG.

The adult-only X rating was never trademarked by MPAA leading to exploitation in pornography markets; eventually replaced by NC-17 in 1990 amid ongoing controversies surrounding film ratings.

Silent Economic Censorship and Film Distribution

The Impact of NC-17 Ratings on Film Availability

There is a notable economic censorship affecting the distribution of films, particularly those rated NC-17, as many outlets and retailers choose not to carry these titles.

The internet serves as a transformative platform for film distribution, challenging traditional norms and expanding access to diverse content.

This shift in distribution methods highlights the dual nature of the internet as both a liberating force for free speech and a potential source of controversial material.

The primary objective of the film rating system is to provide parents with information regarding the content of films, enabling informed viewing choices.