Stars such as James Cagney redefined their images. Cagney played a series of patriots and his gangster in Angels with Dirty Faces (1938) purposefully acts like a coward when he is executed so children who had looked up to him would cease any such admiration. [352] Breen in essence neutered Groucho Marx, removing most of his jokes which directly referenced sex, although some sexual references slipped through unnoticed in the Marx Brothers post-Code projects. [354] In the political realm, films such Mr. Smith Goes to Washington (1939) in which James Stewart tries to change the American system from within while reaffirming its core values, stand in stark contrast to Gabriel Over the White House where a dictator is needed to cure America's woes. [355]

This might apply where the suspect is a known persistent offender with a history of serial offending against property (theft and criminal damage) and it is thought likely that they may continue offending if they are not arrested.The first film Breen censored in the production stage was the Joan Crawford-Clark Gable film Forsaking All Others. [346] Although Independent film producers vowed they would give "no thought to Mr. Joe Breen or anything he represents", they caved on their stance within one month of making it. [347] The major studios still owned most of the successful theaters in the country, [5] and studio heads such as Harry Cohn of Columbia Pictures had already agreed to stop making indecent films. [348] [349] In several large cities audiences booed when the Production seal appeared before films. [347] But the Catholic Church was pleased, and in 1936 Pope Pius XI stated that the U.S. film industry "has recognized and accepts its responsibility before society." [6] The Legion condemned zero films produced by the MPPDA between 1936 and 1943. [350]

Beginning in late 1933 and escalating throughout the first half of 1934, American Roman Catholics launched a campaign against what they deemed the immorality of American cinema. This, plus a potential government takeover of film censorship and social research seeming to indicate that movies which were seen to be immoral could promote bad behavior, was enough pressure to force the studios to capitulate to greater oversight. Although a warning is not expressly required, officers should if practicable, consider whether a warning which points out their offending behaviour, and explains why, if they do not stop, the resulting consequences may make their arrest necessary. Such a warning might: 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] In The Divorcee (1930), starring Norma Shearer, a wife discovers that her husband (played by Chester Morris) has been cheating on her. In reaction, she decides to have an affair with his best friend (played by Robert Montgomery). When the husband finds out, he decides to leave her. After pleading with him to stay, the wife unleashes her frustrations upon him, and, in a moment of inspiration, reveals her desire to live a fearless, sexually liberated life without him. According to at least one film historian, [ who?] this was the motion picture that inspired other films centering upon sophisticated female protagonists, who stayed out late, had affairs, wore revealing gowns, and who basically destroyed the sexual double standard by asserting themselves both within society and in the bedroom. From The Divorcee onward, there developed "a trend toward a sophistication in women's pictures that would continue unabated until the end of the Pre-Code era in mid-1934." [179] 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]a private industry code, strictly enforced, is more effective than government censorship as a means of imposing religious dogma. It is secret, for one thing, operating at the pre-production stage. The audience never knows what has been trimmed, cut, revised, or never written. For another, it is uniform—not subject to hundreds of different licensing standards. Finally and most important, private censorship can be more sweeping in its demands, because it is not bound by constitutional due process or free-expression rules—in general, these apply to only the government—or by the command of church-state separation ... there is no question that American cinema today is far freer than in the heyday of the Code, when Joe Breen's blue pencil and the Legion of Decency's ever-present boycott threat combined to assure that films adhered to Catholic Church doctrine. [341] If a person who attends the police station voluntarily to be interviewed decides to leave before the interview is complete, the police would at that point be entitled to consider whether their arrest was necessary to carry out the interview. The possibility that the person might decide to leave during the interview is therefore not a valid reason for arresting them before the interview has commenced. See Code C paragraph 3.21. 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. arrest would enable the special warning to be given in accordance with Code C paragraphs 10.10 and 10.11 when the suspect is found: Taking advantage of 30 years of archived newsreels were filmmakers making early sound-era documentaries. World War I was a popular topic of these films and was the subject of numerous documentaries including The Big Drive (1933), World in Revolt (1933), This is America (1933), Hell's Holiday (1933), [298] and the presciently titled The First World War (1934) – the most critically and commercially successful documentary of the era.

f) to prevent any prosecution for the offence from being hindered by the disappearance of the person in question. Bail Act 1976, section 7(3), arrest of person bailed to attend court who is suspected of breaching, or is believed likely to breach, any condition of bail to take them to court for bail to be re-considered; b) they have already been cautioned immediately prior to arrest as in paragraph 3.1. (b) Terms of the caution (Taken from Code C section 10)

Are 'citizen journalists' covered by the Editors' Code?

LaSalle M. (2000). Complicated Women: Sex and Power in Pre-Code Hollywood. New York, NY: St. Martin's Press, p. 12. In 1999, the Roan Group/Troma Entertainment released two pre-Code DVD collections: Pre-Code Hollywood: The Risqué Years #1, featuring Of Human Bondage, Millie and Kept Husbands, and Pre-Code Hollywood 2, featuring Bird of Paradise and The Lady Refuses. America has reached a moment where the concepts of civility, decency, respect, and integrity are in doubt and even in dispute. That’s why, our new book, The Decency Code: The Leader’s Path to Building Integrity and Trustis timely. It’s perhaps even important in helping move forward now to reincorporate decency, civility, and respect much more boldly in our culture. 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): In Fu Manchu, Boris Karloff plays the evil Chinese mad scientist and gangster Dr. Fu Manchu, who wants to find the sword and mask of Genghis Khan, which will give him the power to control the "countless hordes" of Asians, and lead them into battle against the West. [271] Fu is a sexual deviant who engages in ritual torture and has occult powers. [272] Several times, the film seems to suggest Fu is engaged in an incestuous relationship with his equally evil daughter Fah Lo See ( Myrna Loy), which plays up a central theme of the "Yellow Peril" fears, the alleged abnormal sexuality of Asians. [269] In a scene cut from the film due to its depiction of miscegenation, the film shows Fu's depraved daughter violating one of the chaste good characters. [273] Fu is eventually conquered, but not before he temporarily lays his hand on the sword and proclaims to a vast Pan-Asian army made up of Asians and Muslims: "Would you have maidens like this [referring to Karen Morley] for your wives? Then conquer and breed! Kill the white man and take his women!" [271] Marlene Dietrich in Shanghai Express (1932)