" Preserving moral standards on the screen, however, was just one of Hays' endeavors. Because of Hays, Hollywood initiated a morals clause to be included within the standard employment contract, scrutinizing the lives of the actors off the screen as well.# Nevertheless, stifling the movie industry was not the primary agenda of Will Hays. The Studio Relations Office was created in order to promote self-regulation of production companies. Instead of the censorship boards potentially ruining a film by cutting it and rejecting its proposed scenarios, the office was there to advise producers on what material was acceptable to include in their films.# The Hays Office was a fundamental period in the institutionalizing of motion picture censorship. Censorship advocates found a leader to aid in the reduction of sexual activity, crime, and other immoral acts depicted on screen. Production companies gained a friend to help them maintain the appeal of their films to the audience, while simultaneously fighting in the war against complete censorship and the attack on their creativity.
The idea behind motion picture censorship did not emerge without good cause. Several scandals erupted within the movie society, spawning the desire, much less the demand, for the restraint of the out-of-control celebrities. Among the most notorious of the early Hollywood scandals was the case of Roscoe "Fatty" Arbuckle. Arbuckle had thrown a labor day weekend party in 1921 at a San Francisco hotel where a rash of sin had broken out, only to be cloaked by the endless flow of bootleg liquor. Arbuckle was beloved by children, young and old, for his comedic talents on the screen; therefore, it was much of a surprise when he was charged for the murder of young starlet Virginia Rappe. The accusation is that Arbuckle took advantage of Rappe while they were alone in a room, consequently crushing Rappe and resulting in her death at a hospital shortly thereafter.
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. ...
