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The '''Motion Picture Production Code''', more commonly named after its most staunch proponent, [[William Hays]], was a comprehensive--and, for most of its life, binding--set of limits on the content of [[motion picture]]s in the [[United States of America]].

The '''Motion Picture Production Code''', more commonly named after its most staunch proponent, [[William Hays]], was a comprehensive—and, for most of its life, binding—set of limits on the content of [[motion picture]]s in the [[United States of America]].

== Pre-Code ==

== Pre-Code ==

In response, many State [[legislature]]s began passing laws regulating the kinds of motion pictures that could be shown within their jurisdictions. In 1915 the Mutual Film Corporation sued to prevent enforcement, by the Industrial Commission of Ohio, of such a law within [[Ohio]]. Eventually the [[Supreme Court]] of the [[United States]] held<ref name=MutvOhio>''[http://caselaw.lp.findlaw.com/cgi-bin/getcase.pl?court=us&vol=236&invol=230 Mutual Film Corporation v. Industrial Commission of Ohio]'', 236 U.S. 230 (1915), retrieved April 6, 2007, from FindLaw.com</ref> that motion pictures did not enjoy the protection against "abridgment of the freedom of speech" mentioned in the First Amendment to the [[United States Constitution]].

In response, many State [[legislature]]s began passing laws regulating the kinds of motion pictures that could be shown within their jurisdictions. In 1915 the Mutual Film Corporation sued to prevent enforcement, by the Industrial Commission of Ohio, of such a law within [[Ohio]]. Eventually the [[Supreme Court]] of the [[United States]] held<ref name=MutvOhio>''[http://caselaw.lp.findlaw.com/cgi-bin/getcase.pl?court=us&vol=236&invol=230 Mutual Film Corporation v. Industrial Commission of Ohio]'', 236 U.S. 230 (1915), retrieved April 6, 2007, from FindLaw.com</ref> that motion pictures did not enjoy the protection against "abridgment of the freedom of speech" mentioned in the First Amendment to the [[United States Constitution]].

The 1920's saw the drug-related deaths--and, in two memorable cases, the murders--of a number of film actors and directors. This, in addition to the content of many projects, caused the public to regard [[Hollywood]] with a jaundiced eye.

The 1920's saw the drug-related deaths—and, in two memorable cases, the murders—of a number of film actors and directors. This, in addition to the content of many projects, caused the public to regard [[Hollywood]] with a jaundiced eye.

Hollywood responded by forming the Motion Picture Production and Distribution Association and pledging to write a code governing film content. The producers did this to avoid having the content of their projects come under federal law. The first president of the MPPDA was [[William Hays]].

Hollywood responded by forming the Motion Picture Production and Distribution Association and pledging to write a code governing film content. The producers did this to avoid having the content of their projects come under federal law. The first president of the MPPDA was [[William Hays]].

The introduction of [[television]] created a new problem for motion-picture exhibitors, in that viewers could now stay at home to watch the sort of spectacle that, heretofore, they had to go out to a public venue to see. So producers experimented with a variety of techniques to distinguish themselves from television, by doing things that television could not do. For example, they changed the aspect ratio of their films from the traditional 4:3 to 16:9, 2:1, or even 2.25:1. But they also agitated for the right to include more salacious content in their films.

The introduction of [[television]] created a new problem for motion-picture exhibitors, in that viewers could now stay at home to watch the sort of spectacle that, heretofore, they had to go out to a public venue to see. So producers experimented with a variety of techniques to distinguish themselves from television, by doing things that television could not do. For example, they changed the aspect ratio of their films from the traditional 4:3 to 16:9, 2:1, or even 2.25:1. But they also agitated for the right to include more salacious content in their films.

In 1954, Joseph Breen retired as head of the PCA. Then an antitrust ruling severely weakened the PCA's power of enforcement.<ref name=PBS>[http://www.pbs.org/wgbh/cultureshock/flashpoints/theater/hollywood.html Howard Hawks' ''Scarface'' and the Hollywood Production Code] from the ''Culture Shock'' series of retrospectives by the Public Broadcasting Service (on-line program note retrieved on April 6, 2007)</ref> Opinions differ as to the particular motion-picture production or productions that might have further weakened the code to make it unenforceable. Perhaps the strongest candidate is [[Alfred Hitchcock]]'s ''Psycho'' (1960)<ref name=Psycho>[http://www.imdb.com/title/tt0054215/ ''Psycho'' (1960)] at the Internet Movie Database</ref>, which had multiple elements that the Code forbade: adultery, bank embezzlement, a flight from the law, voyeurism, and ultimately two murders, the first of which was the most gruesome murder staged to date on film.

In 1954, Joseph Breen retired as head of the PCA. Then an antitrust ruling severely weakened the PCA's power of enforcement.<ref name=PBS>[http://www.pbs.org/wgbh/cultureshock/flashpoints/theater/hollywood.html Howard Hawks' ''Scarface'' and the Hollywood Production Code] from the ''Culture Shock'' series of retrospectives by the Public Broadcasting Service (on-line program note retrieved on April 6, 2007)</ref> Opinions differ as to the particular motion-picture production or productions that might have further weakened the code to make it unenforceable. Perhaps the strongest candidate is [[Alfred Hitchcock]]'s ''Psycho'' (1960),<ref name=Psycho>[http://www.imdb.com/title/tt0054215/ ''Psycho'' (1960)] at the Internet Movie Database</ref> which had multiple elements that the Code forbade: adultery, bank embezzlement, a flight from the law, voyeurism, and ultimately two murders, the first of which was the most gruesome murder staged to date on film.

In 1968, the now-renamed Motion Picture Association of America abandoned the Code completely in favor of their present ratings system.

In 1968, the now-renamed Motion Picture Association of America abandoned the Code completely in favor of their present ratings system.