Focus

motion picture production code

Film & TV
Film & TV

‘I Married a Witch’ (1942): Corrupting the Motion Picture Production Code

‘I Married a Witch’ (1942): Corrupting the Motion Picture Production Code
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Film & TV
Film & TV

‘The Palm Beach Story’ From 1942: Discovering the Non-Code Era

‘The Palm Beach Story’ From 1942: Discovering the Non-Code Era
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Film & TV
Film & TV

‘The Model and the Marriage Broker’ From 1951: Hitching for Happiness

‘The Model and the Marriage Broker’ From 1951: Hitching for Happiness
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Viewpoints
Viewpoints

In Defense of Hollywood’s Old Code: Debunking the Common Myths

In Defense of Hollywood’s Old Code: Debunking the Common Myths
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Viewpoints
Viewpoints

Hollywood’s Old Code Is Better Than the New Code

Hollywood’s Old Code Is Better Than the New Code
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Film & TV
Film & TV

Sisters, Mothers, and More: Feminine Familial Roles in Classic Films

Sisters, Mothers, and More: Feminine Familial Roles in Classic Films
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Film & TV
Film & TV

‘Housewife’ from 1934: A Pre-Code Holdover

‘Housewife’ from 1934: A Pre-Code Holdover
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Film & TV
Film & TV

Book Review: ‘Hollywood’s Censor: Joseph I. Breen & The Production Code Administration’

Book Review: ‘Hollywood’s Censor: Joseph I. Breen & The Production Code Administration’
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Timeless Principles
Timeless Principles

‘The Elephant Song:’ Breening a Modern Play

‘The Elephant Song:’ Breening a Modern Play
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Film & TV
Film & TV

Film: ‘A Christmas Carol’ (1938): A Classic Take on a Timeless Story

‘A Christmas Carol’ (1938): A Classic Take on a Timeless Story
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Film & TV
Film & TV

‘Waterloo Bridge’ (1940): The Power of Subtlety

‘Waterloo Bridge’ (1940): The Power of Subtlety
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Viewpoints
Viewpoints

To Breen or Not to Breen: ‘A Streetcar Named Desire’ From 1951

To Breen or Not to Breen: ‘A Streetcar Named Desire’ From 1951
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Viewpoints
Viewpoints

Why ‘Dobbs vs. Jackson’ Gives Me Hope for Hollywood

Why ‘Dobbs vs. Jackson’ Gives Me Hope for Hollywood
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Viewpoints
Viewpoints

‘Star Wars’ vs ‘See No Evil’: The Code, The Chosen One, and Hollywood’s Fall to the Dark Side

‘Star Wars’ vs ‘See No Evil’: The Code, The Chosen One, and Hollywood’s Fall to the Dark Side
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