Female protagonists in aggressively sexual vice films were usually of two general kinds: the bad girl or the fallen woman. [184] In so-called "bad girl pictures", female characters profited from promiscuity and immoral behavior. [185] Jean Harlow, an actress who was by all reports a lighthearted, kind person offscreen, frequently played bad girl characters and dubbed them "sex vultures". [186] According to the Encyclopedia of Hollywood entry on Underworld, "The film established the fundamental elements of the gangster movie: a hoodlum hero; ominous, night-shrouded city streets; floozies; and a blazing finale in which the cops cut down the protagonist." Gangster films such as Thunderbolt (1929) and Doorway to Hell (1930) were released to capitalize on Underworld 's popularity, [103] with Thunderbolt being described as "a virtual remake" of Underworld. [107] Other late-1920s crime films investigated the connection between mobsters and Broadway productions in movies such as Lights of New York (1928), Tenderloin (1928) and Broadway (1929). [108] Many of these boards were ineffectual. By the 1920s, the New York stage, a frequent source of subsequent screen material, had topless shows; performances were filled with profanity, mature subject matter, and sexually suggestive dialogue. [37] Early during the sound system conversion process, it became apparent that what might be acceptable in New York would not be so in Kansas. [37] In 1927, Hays suggested studio executives form a committee to discuss film censorship. Irving Thalberg of Metro Goldwyn Mayer (MGM), Sol Wurtzel of Fox, and E. H. Allen of Paramount responded by collaborating on a list they called the " Don'ts and Be Carefuls", based on items that were challenged by local censor boards, and which consisted of eleven subjects best avoided, and twenty-six to be handled very carefully. The Federal Trade Commission (FTC) approved the list, and Hays created the Studio Relations Committee (SRC) to oversee its implementation. [38] [39] However, there was still no way to enforce these tenets. [6] The controversy surrounding film standards came to a head in 1929. [1] [40] a) to enable the name of the person in question to be ascertained (in the case where the constable does not know, and cannot readily ascertain, the person’s name, or has reasonable grounds for doubting whether a name given by the person as his name is his real name): Monahan, Kaspar. "High Schoolers Smash Rule Of Gangland – Save City From Mobsters In DeMille Film At Penn", The Pittsburgh Press, September 16, 1933; accessed October 9, 2010.

Hays opposed direct censorship, considering it "Un-American". He had stated that although there were some tasteless films in his estimation, working with filmmakers was better than direct oversight, and that, overall, films were not harmful to children. Hays blamed some of the more prurient films on the difficult economic times which exerted "tremendous commercial pressure" on the studios more than a flouting of the code. [311] Catholic groups became enraged with Hays and as early as July 1934 were demanding that he resign from his position, which he did not, although his influence waned and Breen took control, with Hays becoming a functionary. [312] [313] The PCA seal of approval in the 1930s. The Seal appeared before every picture approved by the MPPDA. In the end, however, the planters admit their wrongdoing and agree to a more equitable distribution of capital. [74] A famous scene from It Happened One Night, in which Claudette Colbert hitchhikes using an unorthodox method to attract a ride, after Clark Gable's failure to get one with his thumb. Volume 9 (October 27, 2015), includes Big City Blues, Hell's Highway, The Cabin in the Cotton, When Ladies Meet [380]

Are there specific parts of the Editors' Code that apply to photographs?

Road Traffic Act 1988, section 6D arrest of driver following the outcome of a preliminary roadside test requirement to enable the driver to be required to provide an evidential sample; PACE, section 46A, arrest of person who fails to answer police bail to attend police station or is suspected of breaching any condition of that bail for the custody officer to decide whether they should be kept in police detention which applies whether or not the person commits an offence under section 6 of the Bail Act 1976 (e.g. failing without reasonable cause to surrender to custody);

In applying the criteria, the arresting officer has to be satisfied that at least one of the reasons supporting the need for arrest is satisfied. While Joy declared Dracula "quite satisfactory from the standpoint of the Code" before it was released, and the film had little trouble reaching theaters, Frankenstein was a different story. [236] New York, Pennsylvania, and Massachusetts removed the scene where the monster unintentionally drowns a little girl and lines that referenced Dr. Frankenstein's God complex. [237] Kansas, in particular, objected to the film. The state's censor board requested the cutting of 32 scenes, which if removed, would have halved the length of the film. [230] When making arrangements for the person’s voluntary attendance, the officer should tell the person: For a constable to have reasonable grounds for believing it necessary to arrest, he or she is not required to be satisfied that there is no viable alternative to arrest. However, it does mean that in all cases, the officer should consider that arrest is the practical, sensible and proportionate option in all the circumstances at the time the decision is made. This applies equally to a person in police detention after being arrested for an offence who is suspected of involvement in a further offence and the necessity to arrest them for that further offence is being considered.

Why does the Code not cover issues of taste and decency?

Volume 8 (October 28, 2014), includes Blonde Crazy, Strangers May Kiss, Hi, Nellie, Dark Hazard [379] This might apply to any offence where its commission causes an unlawful obstruction which it is believed may continue or be repeated if the person is not arrested, particularly if the person has been warned that they are causing an obstruction. See Note 2D An arrested person must be given sufficient information to enable them to understand they have been deprived of their liberty and the reason they have been arrested, as soon as practicable after the arrest, e.g. when a person is arrested on suspicion of committing an offence they must be informed of the nature of the suspected offence and when and where it was committed. The suspect must also be informed of the reason or reasons why arrest is considered necessary. Vague or technical language should be avoided. When explaining why one or more of the arrest criteria apply, it is not necessary to disclose any specific details that might undermine or otherwise adversely affect any investigative processes. An example might be the conduct of a formal interview when prior disclosure of such details might give the suspect an opportunity to fabricate an innocent explanation or to otherwise conceal lies from the interviewer. The custody record will serve as a record of the arrest. Copies of the custody record will be provided in accordance with paragraphs 2.4 and 2.4A of Code C and access for inspection of the original record in accordance with paragraph 2.5 of Code C. (b) Interviews and arrests Horror and science fiction [ edit ] Harry Earles of The Doll Family and Olga Baclanova in the controversial Freaks (1932)

Heins, Marjorie. " The Miracle: Film Censorship and the Entanglement of Church and State", fepproject.org; accessed October 4, 2010.The pre-Code horror cycle was motivated by financial necessity. Universal in particular buoyed itself with the production of horror hits such as Dracula (1931) and Frankenstein, then followed those successes up with Murders in the Rue Morgue (1932), The Mummy (1932), and The Old Dark House (1932). Other major studios responded with their own productions. [228] Much like the crime film cycle, however, the intense boom of the horror cycle was ephemeral, and had fallen off at the box office by the end of the pre-Code era. [235] Hall, Mourdant. Tarzan, the Ape Man (1932), The New York Times, February 28, 1932, accessed December 15, 2010.

On February 19, 1930, Variety published the entire contents of the Code and predicted that state film censorship boards would soon become obsolete. [23] However, the men obligated to enforce the code – Jason Joy, who was the head of the Committee until 1932, and his successor, Dr. James Wingate – were seen as generally ineffective. [17] [24] The very first film the office reviewed, The Blue Angel, which was passed by Joy without revision, was considered indecent by a California censor. [25] Although there were several instances where Joy negotiated cuts from films, and there were indeed definite, albeit loose, constraints, a significant amount of lurid material made it to the screen. [26] Children & Young Persons Act 1969, section 32(1A) (absconding) – arrest to return the person to the place where they are required to reside;Films such as The Mask of Fu Manchu (1932), Shanghai Express (1932) and The Bitter Tea of General Yen (1933), explored the exoticism of the Far East—by using white actors, not Asians, in the lead roles. The white actors frequently looked absurd in yellow-face makeup next to genuine Asians, so the studios would cast all the Asian parts white. [268] Generally, " Yellow Peril" stereotypes dominated the portrayal of Asian characters, who were almost always villains. [269] The American scholar Huang Yunte wrote that the character of Charlie Chan, a Chinese American detective aided by his bumbling, Americanized "Number One Son" were virtually the only positive examples of Asian characters in Hollywood in this period. [269] The actress Anna May Wong complained in a 1933 interview about the prevalence of "Yellow Peril" stereotypes in Hollywood saying: "Why is it that the screen Chinese is always the villain? And so crude a villain – murderous, treacherous, a snake in the grass! We are not like that. How could we be, with a civilization that is so many times older than the West?" [270]