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The Motion Picture Production Code, commonly known as the Hays Code, was established in 1930 by the Motion Picture Producers and Distributors of America (MPPDA).

The Hays Code was a set of industry guidelines that regulated content in American films from 1934 to 1968. Established to avoid government censorship, the code outlined acceptable and unacceptable topics for films, covering themes like nudity, profanity, violence, and sexual content.

This set of guidelines dictated the moral standards for films, also emphasizing that no film could ridicule any religious faith and that ministers should not be portrayed in comedic or sacrilegious roles.

The Production Code Administration (PCA) oversaw the enforcement of the code.

The Hays Code was enforced more rigorously starting in 1934 and remained a significant influence in Hollywood until its decline in the late 1950s.

The code’s influence began to wane in the late 1950s due to factors like the rise of television, foreign films, and more liberal social attitudes.

The code aimed to ‘prevent the portrayal of crime and immorality in a way that could inspire imitation or sympathy for wrongdoing’. It included specific restrictions on content related to religion, ensuring that faith was ‘treated with respect’.

Will H. Hays

William H. Hays served as the president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945, during a time when Hollywood faced increasing pressure for self-regulation due to scandals and concerns about moral content.

In the early 1920s, the American film industry faced growing public scrutiny due to scandals and concerns about the moral content of movies.

Amidst this turmoil, Will H. Hays, a former Republican politician, and campaign manager to Warren G. Harding’s bid for the U.S. presidency in 1920, resigned his cabinet position as Postmaster General to address these issues. Appointed as the chairman of the Motion Picture Producers and Distributors of America (MPPDA), Hays sought to improve the industry’s image and avoid government censorship.

To achieve this, Hays introduced the Motion Picture Production Code, a set of guidelines that established acceptable and unacceptable content for films. This self-censorship code outlined restrictions on topics such as profanity, nudity, drug use, violence, and sexual content. The code aimed to appease religious groups and maintain the industry’s autonomy.

The Motion Picture Production Code, which informally became known as “the Hays Code”, was implemented in 1930 and remained in effect for decades. It significantly shaped the content of American films, influencing storylines, themes, and depictions of certain subject matter. While it helped to avoid government intervention, the code also limited creative freedom and often resulted in a portrayal of sanitized realities.

Throughout its existence, the Hays Code faced harsh criticism. Some argued that it was overly restrictive, hindering artistic expression and preventing films from addressing more complex or controversial topics. Others, however, defended the code as a necessary measure to protect public morality. The (2002) fantasy drama “Time Changer”, about a Bible professor from 1890 who travels to the present day using a time machine, where he is shocked by the modern world, conveys a manifestation of the latter sentiment.

Hays negotiated with various groups and successfully implemented the Production Code, which outlined “acceptable” and “unacceptable” content for films.

Under his leadership, the code became the primary means of self-censorship for the film industry in the United States until its replacement by the MPAA film rating system in 1968.

The WASP perspective on “morality”

The Hays Code can be closely linked to the dogma traditionally held by White Anglo-Saxon Protestants (“WASPs”), who have historically dominated American social and cultural landscapes. WASPs of the time emphasized a particular set of social norms that sought to uphold what they considered “correct standards of life”.

The restrictions on media content were not just about protecting audiences but also about preserving a specific “moral order” that WASPs believed was essential for societal stability.

These attempts to control the narrative coincided with a broader reactionary movement that sought to reinforce “traditional values” during periods of social upheaval. This included a backlash against changes in gender roles and sexual liberation, which were seen as threats to established norms. 

As a consequence, the Hays Code significantly affected Hollywood’s output, leading to sanitized versions of reality where for example themes of sexuality and morality were heavily regulated. For instance, married couples were often depicted sleeping in separate beds, and any portrayal of sexual relationships had to be implied rather than shown explicitly.

Critics argue that the Hays Code’s legacy is one of repression that stifled creativity and marginalized voices outside the dominant WASP narrative. It not only limited artistic expression but also perpetuated stereotypes and excluded diverse perspectives from mainstream cinema.

Changing times

As the film industry evolved and social attitudes shifted, the Hays Code’s influence gradually waned.

The rise of television, the availability of international films, and the increasing acceptance of diverse viewpoints challenged the code’s authority.

In 1952, a significant shift occurred when the Supreme Court recognized films as a form of free speech under the First Amendment. This ruling gradually diminished the power of the Hays Code, culminating in its replacement by a rating system in 1968 that allowed for greater flexibility in content while still providing some level of guidance for audiences

While the Hays Code sought to impose a specific moral framework on films, its eventual replacement by a more flexible rating system reflects the changing societal attitudes towards content and censorship in cinema.

Eventually, the MPAA film rating system replaced the Hays Code in 1968, allowing for more inclusivity, greater creative freedom, and a more nuanced approach to content regulation.

The MPAA film rating system of 1968

With the introduction of the MPAA’s film rating system in 1968, religious leaders still played a crucial role in its development.

Religious organizations, particularly those representing Christian denominations, were vocal about the need for a structured rating system according to their preferences.

As the MPAA developed its rating categories—G, M, R, and X— some religious groups contributed perspectives on what constituted appropriate material for different age groups. Their input shaped the criteria used to evaluate films, emphasizing the need for sensitivity towards themes that might conflict with their religious teachings or specific moral frameworks.

The MPAA sought to create a framework that would accommodate diverse viewpoints while providing guidance to parents. This approach allowed filmmakers to explore complex themes while still offering audiences clarity about a film’s content.

Jack Valenti, who served as MPAA president, involved Protestant and Catholic representatives in creating and overseeing this system.

Their participation highlighted the influence of specific religious perspectives on U.S. film content, even though the rating system itself was not explicitly based on religious doctrine.

The involvement of religious leaders in this new system, however, indicates that specific faith-based perspectives continue to shape what is deemed appropriate for audiences.

The legacy of the Hays Code remains a topic of debate. While WASP morality played a significant role in shaping the American film industry for decades, religious influence on the evolution of film content is a subject of an ongoing debate between censorship and freedom of expression, raising questions about whose narratives are prioritized or silenced.