Changes

After the death of King Edward VII of [[United Kingdom|Great Britain]], a general coarsening of society set in. [[Motion picture]]s, a new medium, began to compete with the traditional stage, but the general principles were the same: theater is theater, whatever the medium. Theater both reflected and accelerated this coarsening. This was far more true of film than of the live stage. Performers on the live stage tended to restrain themselves, out of their own sense of modesty and also of consideration for the sensitivity of the general public to acts depicted by actual persons in the physical presence of others. These considerations operated less obviously in film, and so motion pictures began to feature increasingly sinful plots, and also the sort of spectacle of which Nero would have been proud.

After the death of King Edward VII of [[United Kingdom|Great Britain]], a general coarsening of society set in. [[Motion picture]]s, a new medium, began to compete with the traditional stage, but the general principles were the same: theater is theater, whatever the medium. Theater both reflected and accelerated this coarsening. This was far more true of film than of the live stage. Performers on the live stage tended to restrain themselves, out of their own sense of modesty and also of consideration for the sensitivity of the general public to acts depicted by actual persons in the physical presence of others. These considerations operated less obviously in film, and so motion pictures began to feature increasingly sinful plots, and also the sort of spectacle of which Nero would have been proud.

Motion pictures were a [[United States]] invention and were primarily, though not solely, a United States product. Therefore anything that happened in or to "the movies" in the United States affected motion-picture projects throughout the world, ''except'' in certain totalitarian nation-states. In those states—chiefly Nazi [[Germany]] and the [[Union of Soviet Socialist Republics]]—motion pictures were purely a tool of [[propaganda]] in support of the ruling regime or its ideals.

Motion pictures were a [[United States]] invention and were primarily, though not solely, a United States product. Therefore, anything that happened in or to "the movies" in the United States affected motion-picture projects throughout the world, ''except'' in certain totalitarian nation-states. In those states—chiefly Nazi [[Germany]] and the [[Union of Soviet Socialist Republics]]—motion pictures were purely a tool of [[propaganda]] in support of the ruling regime or its ideals.

In 1930, the trade association of motion-picture producers in the United States established the [[Motion Picture Production Code]], in an effort to convince the viewing public that they were sensitive to their concerns. For about four years, they honored this code more in the breach than otherwise. But then former United States Postmaster General [[William Hays]] became President of the Motion Picture Production and Distribution Association, and in that capacity he made sure that the Production Code Administration, or "[[Hays office]]", would enforce the code in fact, rather than with lip service only.

In 1930, the trade association of motion-picture producers in the United States established the [[Motion Picture Production Code]], in an effort to convince the viewing public that they were sensitive to their concerns. For about four years, they honored this code more in the breach than otherwise. But then former United States Postmaster General [[William Hays]] became President of the Motion Picture Production and Distribution Association, and in that capacity he made sure that the Production Code Administration, or "[[Hays office]]", would enforce the code in fact, rather than with lip service only.