12/2: Understanding The studio System

12/2/10
FH1: Zamore

Aim: Understanding the studio system in Hollywood's "Golden Age"

Daily Spark: What do you think the point of the Hay's Code was?

Today, we will work in our groups from Tuesday to learn about the Big Five studios with total integration.


Research the “BIG 5”
1. RKO
2. Warner Brothers
3. Famous Players-Lasky (aka Paramount)
4. 20th Century Fox
5. Loew’s (AKA MGM – Metro-Goldwyn-Mayer)


You will, in your groups, be responsible to find out:

1. What (if anything) was their studio tag line?
2. What types (genres) was the studio known for?
3. Who were the major stars and directors?
4. What were the major films?


You will have 20 minutes to research and then we will share out

12/6-12/10

12/6/10
Zamore: FH1

Aim: Detailing the breakdown of the Studio System and beginning to understand the Hays Code

Daily Spark: If you had to perform the same job every day, what job would you want? (any job, not just film related) Why?

We will share out our Studio Projects now and then begin to look at the Hays Code.

1. RKO
2. Warner Brothers
3. Famous Players-Lasky (aka Paramount)
4. 20th Century Fox
5. Loew’s (AKA MGM – Metro-Goldwyn-Mayer)


You will, in your groups, be responsible to find out:

1. What (if anything) was their studio tag line?
2. What types (genres) was the studio known for?
3. Who were the major stars and directors?
4. What were the major films?


The Hays Code!

The Motion Pictures Producers and Distributors Association (MPPDA), which later became the Motion Picture
Association of America (MPAA), adopted the code in 1930, began effectively enforcing it in 1934, and abandoned it in
1968 in favor of the subsequent MPAA film rating system. The Production Code spelled out what was acceptable and
what was unacceptable content for motion pictures produced for a public audience in the United States.

Before the Production Code

Will H. HaysCity and state censorship ordinances are as old as the movies themselves. However, after the United
States Supreme Court ruled in 1915 (Mutual Film Corporation v. Industrial Commission of Ohio) that motion pictures
were merely a business and not an art form, and thus not covered by the First Amendment, such ordinances banning
the public exhibition of "immoral" films proliferated. The movie studios feared that federal regulations were not far
off.

In the early 1920s, three major scandals rocked Hollywood Public outcry over perceived immorality in Hollywood
and the movies, as well as the growing number of city and state censorship boards, led to the creation in 1922 of the
Motion Pictures Producers and Distributors Association (which became the Motion Picture Association of America

in 1945), an industry trade and lobby organization. The association was headed by Will H. Hays, a well-connected
Republican lawyer who had previously been United States Postmaster General and the 1920 campaign manager for
President Warren G. Harding. Hays immediately banned Fatty Arbuckle from the movies and instituted a morality
clause to apply to anyone working in films. He also derailed attempts to institute federal censorship over the movies.

In 1927 Hays compiled a list of subjects, culled from his experience with the various U.S. censorship boards, which
he felt Hollywood studios would be wise to avoid. He called this list "the formula" but it was popularly known as
the "don'ts and be carefuls" list around town.

Depression economics and changing social mores resulted in the studios producing racier fare that the Code, lacking
an aggressive enforcement body, was unable to redress. This era is known as Pre-Code Hollywood.

For the most part, the Code was ignored because many found such censorship prudish, due to the libertine social
attitudes of the 1920s and early 1930s. This was a period in which the Victorian era was looked upon as being naïve
and backward and was constantly ridiculed as such. As a result, films in the late 1920s and early 30s reflected the
liberal attitudes of the day and frequently included sexual innuendos, references to homosexuality, miscegenation,
illegal drug use, infidelity, abortion, and profane language, as well as women in their undergarments. Strong women
dominated the screen in films such as The Mysterious Lady, The Docks of New York, Anna Christie, Red-Headed
Woman, Blonde Venus, Red Dust, and Waterloo Bridge. Gangsters in films like The Public Enemy, Little Caesar, and A
Free Soul were more heroic than evil. [1]

References to sexual promiscuity, drug use, bloody gangster life, and morally ambiguous endings began to draw the
ire of various religious groups


12/8/10
FH1: Zamore

Aim: Dissecting the Hays Code

Daily Spark: What was the most surprising aspect of your reading for homework?

1. Paramount gives presentation

2. I finish ppt

3. Studying the actual code.

You will be split into groups to read a section of the code and will answer the following questions:
In your group you will decide:

1. Summarize, in your own words, your section of the code?
2. What, if anything, do you believe carries on in films today?
3. Are there any pieces that you agree with? Why?
4. Are there any pieces that are totally egregious? (noticeably bad or offensive) Why?
5. Why do you think the code was implemented?



12/10/10
FH1: Zamore

Aim: Understanding the affect of the Hays code on cinema

HW 3.4: Read the handout on the film we will be watching next, "It Happened One Night" and answer the questions at the top of the page

Daily Spark: Describe the relationship you believe father and daughter have in the following scenario:

A portly, millionaire tycoon named Alexander Andrews asks his angry daughter about her behavior and refusal to eat: “Hunger strike, eh? How long has this been going on?”

Students will share out their sections of the code. Once this is finished, we will review information from the film "It Happened One Night"


It Happened One Night
Starring: Clark Gable and Claudette Colbert
Directed by: Frank Capra
Studio: Columbia

Studio System Influence:
• According to legend, Clark Gable was loaned to Columbia Pictures, then considered a minor
studio, as punishment for refusing a role at his own studio; however, this has been refuted by
more recent biographies. MGM did not have a project ready for Gable and was paying him $2,000
per week, under his contract, to do nothing. Louis B. Mayer loaned him to Columbia for $2500 per
week, making a $500 per week profit.
• Frank Capra became a director for Columbia in 1924 and continued as one of their major
directors through the 40s
• Colbert signed a contract with Paramount in 1928, but in 1933, Colbert renegotiated her contract
with Paramount to allow her to appear in films for other studios, thus allowing her to appear in
IHON. Due to her success in IHON, she was able to renegotiate her contract, raising her salary.

IHON Influence:
• Gave rise to the “Screwball Comedy”
o New American Genre
o Heyday 1934-1945
o Essentially a love story
o Main characters:
• Comedic, romantic couple
• Glamorous but wacky
• Often initially hostile towards each other—trying to outwit one another
• Much of the comedy comes from the fact that the characters think they are serious-
they don’t realize that they are funny
• Seemingly opposites but obviously “made for eachother”
• Sometimes one is married/engaged to someone who is no good for them
o More realistic and collaborative than slapstick
o Snappy dialogue-wit and speed
o Sentimental, sappy speeches meant to deceive
o Story premise often absurd with many plot twists and turns that snowball out of control


While we watch, observe and record:
1. The film’s persistent sexuality and its creativity in adhering to the Hays Code including “Walls of
Jericho” in symbol and practice
2. Consideration of the film’s role in establishing the genre of the romantic comedy film (what
conventions do you notice that are still in romantic comedies today?)
3. Establishment of the cultural, economic, and political context of IHON, including the Depression
and class issues
4. How the film develops ideas around gender, genre, sexuality, and class.
5. The use of studio sets and how the film highlights and develops the stardom of Clark Gable and
Claudette Colbert


On his yacht moored in the sunny waters off Florida with him is his spoiled, stubborn, devil-may-care headstrong heiress daughter Ellie Andrews (Claudette Colbert). In an impulsive moment and possibly to spite her father, she has just married (in name only) a worthless playboy, King Westley (Jameson Thomas), a fortune-hunting, ne'er-do-well celebrity aviator. Objecting to the wedding, although Westley is in her own upper social class, Mr. Andrews has kidnapped his daughter and brought her aboard his yacht, holding her as a prisoner against her will. He plans to annul the unconsummated marriage to the mercenary, worthless, stuffed-shirt playboy he despises.

12/14-12/16/10-Intro IHON

12/14/10
FH1: Zamore

Aim: Understanding the affect of the Hays code on cinema

Daily Spark: Make a prediction on the outcome of the following scenario:
On his yacht moored in the sunny waters off Florida with him is his spoiled, stubborn, devil-may-care headstrong heiress daughter Ellie Andrews (Claudette Colbert). In an impulsive moment and possibly to spite her father, she has just married (in name only) a worthless playboy, King Westley (Jameson Thomas), a fortune-hunting, ne'er-do-well celebrity aviator. Objecting to the wedding, although Westley is in her own upper social class, Mr. Andrews has kidnapped his daughter and brought her aboard his yacht, holding her as a prisoner against her will. He plans to annul the unconsummated marriage to the mercenary, worthless, stuffed-shirt playboy he despises.

Finish slide show, assign roles start movie

Initial thoughts?


While we watch, observe and record:
1. The film’s persistent sexuality and its creativity in adhering to the Hays Code including “Walls of
Jericho” in symbol and practice
2. Consideration of the film’s role in establishing the genre of the romantic comedy film (what
conventions do you notice that are still in romantic comedies today?)
3. Establishment of the cultural, economic, and political context of IHON, including the Depression
and class issues
4. How the film develops ideas around gender, genre, sexuality, and class.
5. The use of studio sets and how the film highlights and develops the stardom of Clark Gable and
Claudette Colbert


12/16/10
FH1: Zamore

Aim: Understanding the Studio System and the Hays Code through careful observation of "It Happened One Night"

Daily Spark: Create a character profile of either Ellie (Colette Colbert--female lead) or Peter (Clark Gable--male lead) stating three things you have come to find out about their character so far. You can make a guess based on their actions as well


What have we seen so far?

While we watch, observe and record:
1. The film’s persistent sexuality and its creativity in adhering to the Hays Code including “Walls of
Jericho” in symbol and practice
2. Consideration of the film’s role in establishing the genre of the romantic comedy film (what
conventions do you notice that are still in romantic comedies today?)
3. Establishment of the cultural, economic, and political context of IHON, including the Depression
and class issues
4. How the film develops ideas around gender, genre, sexuality, and class.
5. The use of studio sets and how the film highlights and develops the stardom of Clark Gable and
Claudette Colbert