Since its invention, the motion picture quickly paved its way into American society as an acceptable art form and a style of mass entertainment. The road it traveled, however, was not as smooth as its plots and not as easily concluded as the events in the lives of the characters in the films themselves. It was the era of the Great Depression and movie producers found it necessary to attract audiences with the lure of sexual themes and immoral topics on the screen. Additionally, production companies faced much opposition from various groups in society, many of their actions founded on the basis of scandals and undignified events happening in Hollywood. From the introduction of Will Hays as president of the Motion Picture Producers and Distributors of America (MPPDA) to the enforcement of the Production Code, the motion picture industry has struggled to appease its unvarying opposition; however, it has still managed to continue its success and to develop into a popular form of mass entertainment.
The appointment of Will Hays as president of the MPPDA in 1922 prompted the moral restoration of a rapidly corrupted image of the motion picture industry. It was during a time when sex and crime were frequent themes in films and any evidence of virtue on the silver screen was diminishing. Hays' efficiency can be characterized by his sudden arrival into the industry, which disrupted nearly every one of the censorship bills .
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that almost 30 states had been assiduously attempting to install.# Hays was well-known for his effective lobbying skills and his ability to play mediator between the production .
companies and censorship advocates, often taking into consideration both sides' interests. Not long after the formation of the MPPDA, Hays set up the "Formula" which affirmed that members of the Association were expected to "exercise every possible care that only books or plays which are of the right type are used for screen presentation.
In every scene in which Iago speaks one can point out his deceptive manner. ... He kills her not as much out of anger but for pragmatic reasons. ... Iago's merciless taking of Emilia and Roderigo's lives is another proof of his amorality. If one looks in modern day cinema, one will see the trite villain, evil to the core. ... He did not make him transparent like the villains of modern cinema. ...
(Who's That Knocking at My Door, 1969), Charlie (Mean Streets, 1973), Travis (Taxi Driver, 1975), Christ (The Last Temptation of Christ, 1988), Henry (GoodFellas, 1990), Sam Bowden (Cape Fear, 1991), Sam Rothstein (Casino, 1995), Frank (Bringing Out the Dead, 1999), Amsterdam (Gangs of New York, 2002) or Teddy (Shutter Island, 2010) are just some of the characters in Scorsese's filmography whose stories of redemption constitute the central conflict of their respective narratives. ... In Scorsese's explorations of the role of violence in redemption, a spectrum of possible version...
Drawing on Pieter's secret journals, to which she gains access after his disgrace is made public, Tante Sophie sets out to piece together the story of her nephew's self-destructive behavior. ... An outspoken enemy of Smuts and all things English, he stands "like a chained lion" when God Save the King is played in the cinema (101). ... It is Sophie's brother Jakob who points out her biggest problem as the narrator. ... In portraying Stephanie as the seducer, Sophie relies on the racial stereotype of black women as sexually promiscuous as well as on the cultural and religious ste...
The BBFC was made responsible for all cinema just a year later, up until this point it had been up to local councils to make the decision, so what could be seen in Bristol or London, may not be seen in Manchester for example. ... The 1960s saw the Board start to go with the liberal attitudes of the time, and scenes of sex, drug taking and violence became more acceptable. ... Another case coming from Stone's film is that of Sarah Edmondson and Benjamin Darras, who, much like Mickey and Mallory, went on a killing spree after taking drugs and watching the film. ... Interestingly in the Edmo...
Film noir was an important innovation of cinema that had a lasting influence on both cinema past and present and the motion picture industry as a whole. ... A dark film is probably the most concise a definition of this type of cinema that has ever been offered. ... Kerr reflects in Out of What Past Notes On The B Film Noir' on The curios cross generic quality of film noir. ... These techniques were are all innovative filmmaking techniques that were the first of their kind marking a new wave of innovation in cinema. ...
When Assef asks Amir why he hangs out with Amir, Amir almost said, "He's my servant!... When Baba asked Amir to invite Hassan to the cinema, Amir thought: "Why did Baba have to spoil it like that?... This was his method of removing that guilt: Taking it out on his best friend. ... Amir with this in mind knows that this will result in Hassan getting kicked out. ... Amir isn't even fully convinced on taking a trip to Afghanistan to save Sohrab. ...