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Volume 10 (April 19, 2016), includes Guilty Hands, The Mouthpiece, Secrets of the French Police, The Match King and Ever in My Heart. [381] anyone who is guilty of an offence which has been committed or anyone whom the officer has reasonable grounds for suspecting to be guilty of that offence. Hall, Mordaunt. " Baby Face (1933) – A Woman's Wiles", The New York Times, June 24, 1933; accessed October 11, 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]
This Code applies to any arrest made by a police officer after 00:00 on 12 November 2012 1 Introduction 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) Haskell, Molly (1987) From Reverence to Rape: The Treatment of Women in the Movies (2nd ed.) Chicago: University of Chicago Press. p. 146. ISBN 0-226-31885-0 Volume 8 (October 28, 2014), includes Blonde Crazy, Strangers May Kiss, Hi, Nellie, Dark Hazard [379]A person who is arrested, or further arrested, must be informed at the time if practicable, or if not, as soon as it becomes practicable thereafter, that they are under arrest and of the grounds and reasons for their arrest, see paragraphs 2.2 and Note 3. You do not have to say anything. But it may harm your defence if you do not mention when questioned something which you later rely on in Court. Anything you do say may be given in evidence.” 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.
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: Paramount's Dr. Jekyll and Mr. Hyde (1931) played to the Freudian theories popular with the audience of its time. Fredric March played the split-personality title character. Jekyll represented the composed super-ego, and Hyde the lecherous id. Miriam Hopkins's coquettish bar singer, Ivy Pierson, sexually teases Jekyll early in the film by displaying parts of her legs and bosom. [238] Joy felt the scene had been "dragged in simply to titillate the audience." [237] Hyde coerces her with the threat of violence into becoming his paramour and beats her when she attempts to stop seeing him. She is contrasted with his wholesome fiancée Muriel ( Rose Hobart), whose chaste nature dissatisfies March's baser alter ego. [239] The film is considered the "most honored of the Pre-Code horror films." [240] Many of the graphic scenes between Hyde and Ivy were cut by local censors because of their suggestiveness. [241] Sex was intimately tied to horror in many pre-Code horror movies. In Murders in the Rue Morgue, an adaptation of Edgar Allan Poe's classic tale which has little in common with the source material, Bela Lugosi plays a mad scientist who tortures and kills women, trying to mix human blood with ape blood during his experiments. His prized experiment, an intelligent ape named Erik, breaks into a woman's second-floor apartment window and rapes her. [242] In Murders in the Rue Morgue (1932), the shadow of the ape's hand appears over head of Camille ( Sidney Fox) as it enters her room. What follows has been dubbed "interspecies miscegenation" by film historian Thomas Doherty. [238] a b "Pre-Code: Hollywood before the censors | Sight & Sound". British Film Institute. Archived from the original on 2021-01-27.if any of the criteria do apply, whether to arrest, grant street bail after arrest, report for summons or for charging by post, issue a penalty notice or take any other action that is open to the officer. 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]
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