Jon Lewis, Hollywood v Hardcore: How the stuggle over Censorship Saved rhe Modern Film Industry, New york University Press, New York, 2000.
'film censorship only incidentally and superficially regards specific film content' (p.2)
'the MPAA supervises the regulation of film content solely to protect studio products in the market place' (p.3)
'the principle and sole virtue of such a system is that it insures that all MPAA films move freely and profitably through the vast entertainment marketplace.' (p.3)
'Censorship and regualtion, however inhibiting in the short term, offer along term structure to this uncertain and unpredictable business and offer the illusion of certainty and security to studio executives whose jobs hinge on the measurable succes of their studios' product lines' (p.4)
'the political and social utility of film censorship is altogether secondary to its economic function.' (p.6)
'the studios self-regulate because they are convinced that self-regulation is good for business' (p.7)
'The MPAA no longer enforces a strict production code...But it is important to understand that the rating system functions much like the earlier codes.' (p.138)
'It was his [Jack Valenti} job to figure
out a way, in the name of self-regulation, to enable the production of
mature-themed films.' (p.138)
Michael Medved, Hollywood v America, HarperPerennial, New York, 1993.
'what went wrong' in the movie industry in the 190s was because of changed attitudes within Hollywood, not because of changed societal attitudes generally. (p.278)
the change in regulation of movies stems not from a desire to make money, but from the desire of persons in Hollywood to be seen to be 'artistisc'. (pp.286-287)
this change in attitude stems from Kack Valenti's rise to the head of the MPAA in 1966. (p.282)
Robert Sklar, Movie-Made America: A Social History of American Movies, Random House, New York, 1975.
'Writning about film regulation in the 1960s he commented 'The struggle over movies, in short, was an aspect of the struggle between the classes..since the enemies of movies could deal only indirectly or covertly with the issue of class conflcit, they made their case on the ground of protesting the young'. (p.123-124.)
LINKS