Editing Hays Code (section)

==Creation==
In 1929, Catholic layman [[Martin Quigley (publisher)|Martin Quigley]], editor of the prominent trade paper ''[[Motion Picture Herald]]'', and [[Society of Jesus|Jesuit priest]] Father [[Daniel A. Lord]], created a code of standards<ref name="Sm38">Smith (2005), p. 38.</ref> and submitted it to the studios.<ref name="DH6" /><ref>Jacobs (1997), p. 108.</ref> Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure.<ref name="Sm38" /> In February 1930, several studio heads, including [[Irving Thalberg]] of [[Metro-Goldwyn-Mayer]], met with Lord and Quigley. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention.<ref>Prince (2003), p. 21.</ref> It was the responsibility of the SRC (Studio Relations Committee, precursor to the PCA) <ref>{{cite web|url=https://www.encyclopedia.com/arts/culture-magazines/production-code-and-hays-office|title=The Production Code and the Hays Office|access-date=July 28, 2024}}</ref> headed by Colonel Jason S. Joy, a former [[American Red Cross]] Executive Secretary)<ref name="Vieira_p8" /><ref>Flinders Inst. profile.</ref> to supervise film production and advise the studios when changes or cuts were required.<ref>LaSalle (2000), p. 63.</ref><ref name="DH8">Doherty (1999), p. 8.</ref> On March 31, the MPPDA agreed it would abide by the Code.<ref name="DH2">Doherty (1999), p. 2.</ref> The production code was intended to put a limitation on films which were distributed to a large audience, making it more difficult to appeal to all individuals in the audiences.<ref>{{Cite journal|last=Tratner|first=Michael|date=2003|title=Working the Crowd: Movies and Mass Politics|journal=Criticism|volume=45|issue=1|pages=53–73|doi=10.1353/crt.2003.0035|s2cid=144810867 |issn=1536-0342|url=https://repository.brynmawr.edu/engl_pubs/6}}</ref>