Baby Face Censorship

Lily seems to be an unscrupulous social climber who thinks happiness comes from superficial things, achieved at any personal price. Lily Bart’s lavish lifestyle expectations stem largely from her upbringing. Lily was raised by a mother to believe that a woman’s goal in life should be to marry the richest man possible, and strive for the greatest level of social status in New York’s high society. However, Lily’s parents died leaving Lily in constrained financial circumstances. Membership in this elite social circle requires seemingly infinite financial resources. Women must attend ongoing social occasions frequently wearing new, expensive, custom dresses and costly jewelry. They must participate in gambling games like bridge, and be, or at least appear to be, indifferent to financial losses. Lily does not have the money to spend on such activities, but she spends it nonetheless to maintain her status in this group. Lily seems willing to sell her soul in order to land a rich husband and thus maintain an extravagant lifestyle, and is disparaging about those outside of this circle. For example, when Lily talks with Mr. Seldon about his cousin’s (Gerty Farish’s) apartment, she speaks unfavorably about Farish’s lifestyle as a “respectable” working woman living in a humble flat. However, when Lily realizes that what she said might have seemed disagreeable to Selden, Lily explains, “She

First, in the novel money is the most important thing and social standing depends just on how much wealth one has. Therefore, it makes sense that Lily’s whole demeanor and emotional state is almost completely dependent on money. Lily has acquired lots of debt from gambling and when in this state she feels as if she owes something to the people who have lent her money. She absolutely hates that feeling, as she wants to solely be independent and have a man give her wealth. “She was realizing for the first time that ... the maintenance of a moral attribute should be dependent on dollars and cents”, this quote was describing

The magazine article describes the stark contrast in the portrayal of female sexuality between pre-Code and post-Code movies. Pre-Code movies are flagrantly sexual; although some contemporary film critics believe that women were simply embracing their sexual freedom through these pre-code films, the marketing for many of these brazenly sexual films often included derisive comments from males, suggesting that the intent of overt sexuality in films was more crude. Post-code films often used screenwriting strategies to stay within bounds of the Code. Denby argues that this censorship actually created a net benefit for women, who were given stronger personalities and more interesting plot lines instead of simply being sexual objects. The article suggests that censorship led to the inception of the screwball comedy genre, which was forced to “create sex without sex.”

Hollywood got rid of its self-imposing ‘production code.’ This allowed things like adult language, adult themes, sex, and violence to be put into the movies that Hollywood produced.

As readers first start the novel, the main character, and protagonist, Lily Owens is seen as a determined 14-year-old girl who will stop at nothing to find out more about her mother. After getting into a fight with T. Ray, Lily Owens thinks to herself, “That's when it came to me. What if my mother wasn’t leaving true? What if T. Ray made it up to punish me? … But I had such a moment right then, standing in my own ordinary room. I heard a voice say, Lily Melissa Owens, your jar is open. In a matter of seconds, I knew exactly what I had to do -leave.” (Kidd 41) This quote gives the readers a sneak peek at how determined Lily truly is. She takes the risk of running away from her abusive father and the house she calls home. Once Lily runs away and breaks Rosaleen out of jail, she comes up with a plan as to how they will escape Sylvan. “‘We’re going to Highway Forty and

The media even has characters in G rated movies wearing revealing clothes that are just as bad in R rated movies. Children can’t go get a Halloween costume without it being inappropriate because society makes it seem like everything has to be “sexy”. This has been going on for a while now, during the 50’s a women got asked to act in a movie, but she was required to get her back teeth removed so that she could wear false teeth. Back in modern times women wore more clothing, it is like as time passes designers are creating clothes with less material because that is “what’s in style”. Another woman got an acting offer, but in order for her to take it she had to get Botox to make her appear

The documentary This Film is Not Yet Rated, provides an account about the MPAA and their rating system. The film contends three main arguments against the MPAA rating's prejudice between; sex and violent content, homosexual sex and heterosexual sex, and bloody and non-bloody violence, by their use of side-by-side comparisons. A main argument in the film is how the MPAA differs in its treatment of sexual content versus violent content. The documentary contends that main difference between NC-17 and R is that R would only show missionary position sex; while other type of sexual behaviors is NC-17. Side-by-side examinations of The Cooler and Scary Movie, is used as evidence for this argument.

First, the author indirectly characterizes Lily as an ungrateful, pessimistic teenager to create a likeable character for teenage readers. For example, Lily complains about T. Ray, her father, “...and T. Ray, naturally, refused to buy me bristle rollers, so all year I’d had to roll it on Welch’s grape juice cans…”(3) which suggests Lily as being ungrateful. To further explain, T. Ray provides her with food and shelter, yet all she does is complain about what she does not have. In addition, Lily does not explain about the positive components in her life, such as, her education or shelter, and only dwells on the bad. To conclude, Lily’s ungrateful and pessimistic feelings revealed through indirect characterization, relates her to the teenage audience, because, the teenage readers would react in the same

I have to disagree with you. I personally, don't think that lack of parental supervision can land a juvenile back to a detention facility to me it seems that the juvenile land back due to their actions let me give you an example; My daughter was caught smoking marihuana in the girls bathroom along with her friends. We went to court she was under parental supervision and had to take some drug abuse class and had to do random urine samples which she did okay but towards the end of the program she fail one of the urine samples due to the fact that she smoke marihuana again. I have a full time job because I have bills to pay she smoke marihuana while a I was at work and unable to see what she was doing I can't not control how she behaves when I

Leff and Simmons’ book explores the history of film censorship, from the 1920’s Motion Picture Producers and Distributors Association (MPPDA), to the Hays Code, to the current MPAA rating system. The first half of the book gives a thorough background on the people who spearheaded the efforts to enact censorship in Hollywood, especially focusing on MPPDA President William Hays and Joseph Breen. Leff and Simmons detail the pre-code vulgarity and blatant sexuality in films and then recount the multitude of reactions of various stakeholders, including responses from the Catholic church, newspaper mogul Randolph Hearst, the Women’s Christian Temperance Union (WCTU) and concerned public officials among many others. Ultimately, the book describes how Hays is able to ward off federal intervention and Breen is able to enforce censorship of the Hays Production Code in the film industry.

The tramp in the film works hard to upkeep the illusion of his wealth for the flower girl wanting to be someone for her so that he may keep her. Actions such as giving her a ride home, buying all her flowers for the day, and bring her groceries indicate he would do anything for her. In the final scenes we witness the flower girl trying to give him money however, he does not take notice due to the fact he is in awe of seeing her. The roles have now reversed. The tramp is no longer in the caring position for her, but now that she has her sight back and a business she can take care of him, which is shown in the money she tries to give him. In what feels like an instant their social roles have drastically changed. The tramps true self is reviled,

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

Her father is described as a neutral figure and her memory of him is hazy at best. This lack of a father figure led to Lily’s attitude towards men. Because of this Lily always denies herself suitable marriages because she always feels she can do better. Lily is conflicted between the man she loves and the man with money. She loves Seldon but she deems him too poor for her perfect marriage. After much thought, Lily decides to marry Peter Gryce who is exceedingly wealthy but is too late as he is already engaged at the time of her decision. Lily cannot decide between love and money both of which are important aspects of her life. She is unwilling to compromise between the two which eventually leads to her downfall. Lily needs to marry a man with wealth and a stable status in high New York society because she needs a source of income to supplement her own unstable wealth.

Capino begins his article by claiming that the “proliferation of hard-core [porn]” in the 1970s "intensified the production of sexual fantasies and sexualities through [ . . . ] cinema.” He goes on to cite a “famous series” of blow jobs given by Linda Lovelace, drawing a relationship between cinema and how talk of girls “with no gag reflex” became the prominent in college dorms, through what he calls “rehearsing offscreen.” He goes onto state that “porn movies [ . . . ] consist of much than just filmed sex acts,” and how they are “[encoding] and [disseminating] practices of sexuality” into our society using film as a medium.

Since its humble beginnings in the later years of the nineteenth century, film has undergone many changes. One thing that has never changed is the filmmaker’s interest in representing society in the present day. For better or worse, film has a habit of showing the world just what it values the most. In recent years, scholars have begun to pay attention to what kinds of ideas films are portraying (Stern, Steven E. and Handel, 284). Alarmingly, viewers, especially young women, are increasingly influenced by the lifestyle choices and attitudes that they learn from watching these films (Steele, 331). An example of this can be seen in a popular trope of the “romantic comedy” genre in this day and age: the powerful man doing something to help, or “save” the less powerful woman, representing a troubling “sexual double standard” (Smith, Stacy L, Pieper, Granados, Choueiti, 783).