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. Before that date, film 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.Īs 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 (1927–1934) was the brief era in the American film industry between the widespread adoption of sound in film 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 Hays Code in its dialogue, but still featured sexualized imagery. Pre-Code films such as The Public Enemy (1931) were able to feature criminal, anti-hero protagonists. In this 1931 publicity photo, Dorothy Mackaill plays a secretary-turned-prostitute in Safe in Hell, a pre-Code Warner Bros. US cinema before the enforcement of the Motion Picture Production Code (1929–1934)
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