[Commlist] QRFV on the Production Code and Hollywood Film Style published

42:1 of the /Quarterly Review of Film and Video/ entitled, “Hollywood 
Film Style and the Production Code: Criticism and History” has been 
published.

See
https://www.tandfonline.com/journals/gqrf20



… therein you will find 11 brand new articles by a range of 
international scholars discuss the stylistic impact or traces of the 
self-regulatory regime that governed much of Classical Hollywood 
production – the regulations administered by the PCA (Production Code 
Administration) sometimes known as the “Hays Code” or simply “the Code”.

/Quarterly Review of Film and Video /are promoting the special issue 
through limited periods of open access. Currently, it seems that every 
single article is open access (as well as those of the landmark earlier 
issue on the Code [14:4] from 1995 that we are also marking an 
anniversary of) but this month’s special access is to Olympia Kiriakou’s 
essay ““But What if I Don’t Want Him Under Those Terms?”: Adaptation, 
Marriage, and Performance in /The Women/”. Here is Olympia’s abstract:

//

“This essay explores authorship and adaptation in relation to the 
Production Code Administration’s (PCA) role in the classical Hollywood 
studio system. While it is true that the PCA did not have a hand in the 
day-to-day activities of studio-era film production, their authorial 
voice is evident in the way they enforced what could and could not be 
shown on U.S. cinema screens according to a set of clearly defined 
ideological principles. Using a case study of the stage to screen 
adaptation of The Women (George Cukor, 1939), this essay examines how 
the PCA exerted their authorial influence via the creative modification 
of the production process and by tempering the original play’s depiction 
of adultery according to the tenets of the Production Code. The film 
adaptation of Clare Boothe Luce’s hit Broadway play takes a much more 
affirmative stance against adultery, but at the same time, the 
cinematography, framing, and Norma Shearer’s performance opens up a 
space to mediate on the effects of infidelity on a marriage, a family 
and a woman’s self-worth.”


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