Modern Films Thank Pre-code Films

Paper by Brenna Valenzuela.

The “pre-code” era is widely known within the film industry, as it discusses a time when there were restrictions amongst films. This time was considered a time of great creativity within the film industry. The Production Code, also known as the Hays Code, was created in 1930, to regulate films, but it was not enforced from the years 1930-1934 (Maestu). During this time, films had a certain “freedom,” in which they were able to show alcohol use, sexualize individuals (most commonly women) and other inappropriate concepts for this time. Looking at the pre-code films She Done Him Wrong (Cowell Sherman, 1933) and Red Headed Woman (Jack Conway, 1932), there are various similarities between these films that demonstrate the short and long term effects of the pre-code movies through the years in the US film industry. The Hays Code created many challenges to film making, however, during the pre-code years of 1930-1934, films did not have to adhere to the Hays Code guidelines. Instead many films, such as She Done Him Wrong (Sherman, 1933) and Red Headed Woman (Conway, 1932) bypassed these rules and are good examples

Posted at 11am on 06/20/22 | 14 comments | Filed Under: Academic Papers, Films read on

The Evolution of the Mistreatment of Women in Film

Paper by Emily King.

After World War II, women were seen to rise up again to fight for equality, in what we call the second wave of feminism. This second wave of feminism reflected women who responded to the pressures placed on them to return back to the traditional roles of women in the home, both in real life, as well as in film. Women wanted to be represented as people of power, which previously is not seen very prominently in films. Film’s that were produced during this time did not display women in a good light, but rather exploited them. From the mid 1970’s onward, it is clear to see a progression of how men felt towards women; threatened. Through this, women fought through the backlash that can be seen through slasher films such as John Carpenter’s Halloween (1978), and responded to this pressure with the rise of independent films, in which filmmakers did not have to abide by the Classical Hollywood style of filmmaking that so famously abused the image of women. Independent films such as Ridley Scott’s Thelma & Louise (1991) reflect this growth throughout the years

Posted at 11am on 06/20/22 | 22 comments | Filed Under: Academic Papers, Films read on



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Film Festival Course: FS108: Film Festival Studies: 10-days or 5-days (2 or 3 units). Field course at film festivals to study U.S. and international fiction, experimental and documentary films. Fee required.

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