With the introduction to sound, actors could fully flesh their characters out on film, although many viewed it negatively because it allowed for characters to rationalize moral behavior. Film dialogue allowed a new way that films could challenge the conventional norms of American society, like how it challenged the conventional norm of women being subservient to men in public life with a powerful female figure in the role of monarch that took over the throne and grew into being a diplomatic power. Many postwar films emphasized the Roaring Twenties lifestyle, seen through bootleg liquor, jazz music, and wild parties. Though these films were popular this began to change by 1921 with the scandals surrounding Hollywood stars and producers. One of the first was Mary Pickford, who divorced her husband and married her new leading man, and the most notorious was in September 1921 with the trial of Roscoe “Fatty” Arbuckle over a murdered young actress. This was the beginning of the moral outcry against Hollywood, with the public viewing Hollywood as a “fortress of filth”, and “muck merchants,” and called for government censorship or a regulation of films to maintain morality for society. With the potential of losing millions due to loss of attendance from movie-goers as well as the threat of government censorship over all movies in Hollywood, studio heads came together and …show more content…
He saw his primary mission when he became president as bringing the film industry respectability from American society. This new association became known as the Hays Office and attempted to show that the film industry could be self-regulated through the “formula,” until Hays stepped down as the president in 1945. The main way that Hays wanted to regulate the industry began in 1924 with the “Formula” for film makers to make films under, a series of vague rules designed to prevent immoral movies from being produced. Due to the vague nature of many of the rules, with the idea of stopping “objectionable” material without specification, allowed for many films to be created. The next attempt was a more serious attempt at binding the film industry to a series of rules for films – the Production code that expected studios to voluntarily limit their films in terms of scenes of violence, crime and offensive language that was independent of public taste that started in 1930. This code was still expecting studios to self-regulate–which man did not–and continued to allow producers to create any type of movie they