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Pre-Code sex films refers to movies made in the pre-Code Hollywood era, between the introduction of sound in the late 1920s〔 LaSalle (2002). p.1〕 and the enforcement of the Motion Picture Production Code in 1934, which contained sexual references that were contrary to the yet to be enforced Hays Code. These movies explored woman's issues, challenged the concept of marriage, and aggressive sexuality was the norm. ==Promotion== During the pre-Code period, after the crack down on crime films, production of films featuring prurient elements increased.〔Vasey p.114〕〔Doherty. p.103〕 Studios began putting in extra suggestive material which they knew would never reach theaters. MGM screenwriter Donald Ogden Stewart said that "(and Wingate ) wouldn't want to take out too much, so you would give them five things to take out to satisfy the Hays Office—and you would get away with murder with what they left in."〔Vieira. p.130〕 In 1932, Warner Brothers' policy was that "two out of five stories should be hot", and that nearly all films could benefit by "adding something having to do with ginger."〔Doherty. p.104〕 Films such as ''Laughing Sinners'', ''Safe in Hell'', ''The Devil is Driving'', ''Free Love'', ''Merrily We Go to Hell'', ''Laughter in Hell'', and ''The Road to Ruin'' were provocative in their mere titles.〔 Studios marketed their films, sometimes dishonestly, by coming up with suggestive tag lines and lurid titles, even going so far as to come up with in house contests for thinking up provocative titles for screenplays.〔Doherty. pp.107-10〕 Commonly labeled "sex films" by the censors, these pictures offended taste in more categories than just sexuality.〔 According to a ''Variety'' analysis of 440 pictures produced in 1932–33, 352 had "some sex slant", with 145 possessing "questionable sequences", and 44 being "critically sexual"."〔 The trade paper summarized that "over 80% of the world's chief picture output was...flavored with bedroom essence."〔 Attempts to create films for adults only (dubbed "pinking") only served to bring larger audiences of all ages to the cineplex.〔 Posters and publicity photos were often tantalizing.〔Doherty. pp.110-1〕 Woman appeared in poses and garb not even glimpsed in the films themselves. In some cases actresses with small parts in films, or in the case of Dolores Murray in her publicity still for ''The Common Law'' (1931),〔(IMDb )〕 no part at all, appeared barely clothed.〔Doherty. p.110〕 Hays became outraged at the steamy pictures circulating in newspapers around the country.〔Doherty. p.111〕 The original Hays Code contained an oft ignored note about advertising imagery, but he wrote an entirely new set of advertising rules in the style of the ten commandments that contained a set of twelve prohibitions.〔Doherty. pp.107, 110–2〕 The first seven addressed imagery and prohibited women in undergarments, women raising their skirts, suggestive poses, kissing, necking, and other suggestive material. The last five concerned advertising copy and prohibited misrepresentation of the film's contents, "salacious copy", and the word "courtesan".〔Doherty. pp.111-2〕 Soon, studios found their way around the restrictions and published more racy imagery. Ultimately this backfired in 1934 when a billboard in Philadelphia was placed outside Cardinal Thomas Dougherty's home. Severely offended, Dougherty helped launch the motion picture boycott that later facilitated the enforcement of the Code.〔Doherty. pp.112–3〕 A commonly repeated theme by those supporting censorship, and one mentioned in the Code itself,〔Reprinted in Jacobs. p.10: "Most arts appeal to the mature. This art appeals at once to every class, mature, immature, developed, underdeveloped, law abiding, criminal. Music has its grades for different classes; so has literature and drama. This art of the motion picture, combining as its does the two fundamental appeals of looking at a picture and listening to a story, at once reached () every class of society. () it is difficult to produce films intended for only certain classes of people....Films, unlike books and music, can with difficulty be confined to certain selected groups"〕 was the notion that film was a medium that greatly appealed to the masses and thus needed to be regulated.〔Doherty. pp.106-7; Massey. p.71〕 Despite the obvious attempts to appeal to red blooded American males, most of the patrons of sex pictures were female. ''Variety'' squarely blamed women for the increase in vice pictures:〔Doherty. p.126〕 Pre-Code female audiences liked to indulge in the carnal lifestyles of mistresses and adulteresses while at the same time taking joy in their usually inevitable downfall in the closing scenes of the picture.〔Doherty. p.127〕 And while gangster pictures were claimed to corrupt the morals of young boys, vice films were blamed for threatening the purity of adolescent women.〔Smith. p.56〕 In pre-Code Hollywood the sex film became synonymous with women's pictures—Zanuck once told Wingate that he was ordered by Warner Brothers New York corporate office to reserve 20% of the studio's output for "women's pictures, which inevitably means sex pictures."〔Vieira. pg. 118〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pre-Code sex films」の詳細全文を読む スポンサード リンク
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