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Lord, a Jesuit priest, created a code of standards (of which Hays strongly approved) and submitted it to the studios. In 1929, Roman Catholic layman Martin Quigley, editor of the prominent trade paper Motion Picture Herald, and Father Daniel A.

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Industrial Commission of Ohio that free speech did not extend to motion pictures, and while there had been token attempts to clean up the movies before, such as when the studios formed the National Association of the Motion Picture Industry (NAMPI) in 1916, little had come of the efforts. The Supreme Court had already decided unanimously in 1915 in Mutual Film Corporation v. Hays introduced a set of recommendations dubbed 'The Formula' in 1924, which the studios were advised to heed, and asked filmmakers to describe to his office the plots of pictures they were planning.

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Harding and former head of the Republican National Committee, 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.' Hollywood mimicked the decision Major League Baseball had made in hiring judge Kenesaw Mountain Landis as League Commissioner the previous year to quell questions about the integrity of baseball in wake of the 1919 World Series gambling scandal The New York Times called Hays the 'screen Landis'. Hays, later nicknamed the motion picture 'Czar', was paid the then-lavish sum of $100,000 a year (equivalent to more than $1.4 million in 2015 dollars). 'Will' Hays to rehabilitate Hollywood's image. In 1922, after some risquГ© films and a series of off-screen scandals involving Hollywood stars, the studios enlisted Presbyterian elder William H. Hays was recruited by the studios in 1922 to help clean up their 'Sin City' image after a series of scandals, especially the Roscoe 'Fatty' Arbuckle manslaughter trial.

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This, plus a potential government takeover of film censorship and social research seeming to indicate that movies which were seen to be immoral could promote bad behavior, was enough pressure to force the studios to capitulate to greater oversight. Д«eginning in late 1933 and escalating throughout the first half of 1934, American Roman Catholics launched a campaign against what they deemed the immorality of American cinema. Other stars who excelled during this period, however, like Ruth Chatterton (who decamped to England) and Warren William (the so-called 'king of Pre-Code', who died in 1948), would wind up essentially forgotten by the general public within a generation. Many of Hollywood's biggest stars such as Clark Gable, Bette Davis, Barbara Stanwyck, Joan Blondell, and Edward G. Along with featuring stronger female characters, films examined female subject matters that would not be revisited until decades later in US films. Strong female characters were ubiquitous in such pre-Code films as Female, Baby Face, and Red-Headed Woman. For example, gangsters in films such as The Public Enemy, Little Caesar, and Scarface were seen by many as heroic rather than evil. Nefarious characters were seen to profit from their deeds, in some cases without significant repercussions.

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Before that date, movie content was restricted more by local laws, negotiations between the Studio Relations Committee (SRC) and the major studios, and popular opinion, than by strict adherence to the Hays Code, which was often ignored by Hollywood filmmakers.ДЄs a result, some films in the late 1920s and early 1930s depicted or implied sexual innuendo, romantic and sexual relationships between white and black people, mild profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence, and homosexuality. Although the Code was adopted in 1930, oversight was poor, and it did not become rigorously enforced until July 1, 1934, with the establishment of the Production Code Administration (PCA). Pre-Code Hollywood was the brief era in the American film industry between the widespread adoption of sound in pictures in 1929 and the enforcement of the Motion Picture Production Code censorship guidelines, popularly known as the 'Hays Code', in mid-1934. 42nd Street (1933) made concessions to the HaysВ Code in its dialogue, but still featured sexualized imagery.