Facts and information relevant to a person’s suspected involvement in an offence should not be confined to those which tend to indicate the person has committed or attempted to commit the offence. Before making a decision to arrest, a constable should take account of any facts and information that are available, including claims of innocence made by the person, that might dispel the suspicion. Films such as Laughing Sinners, The Devil's Holiday, Safe in Hell, The Devil is Driving, Merrily We Go to Hell, Laughter in Hell, and The Road to Ruin were provocative in their mere titles. [159] Studios marketed their films, sometimes dishonestly, by inventing suggestive tag lines and lurid titles, even going so far as to hold in-house contests for thinking up provocative titles for screenplays. [162] Commonly labeled "sex films" by the censors, these pictures offended taste in more categories than just sexuality. [159] 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". Variety summarized that "over 80% of the world's chief picture output was ... flavored with bedroom essence." [160] Attempts to create films for adults only (dubbed "pinking") wound up bringing large audiences of all ages to cinemas. [163] Some objected to publicity photos such as this 1932 shot of Ina Claire posing seductively on a chaise lounge from The Greeks Had a Word for Them. iii) when considering arrest in connection with any recordable offence and it is necessary to secure or preserve evidence of that offence by taking fingerprints, footwear impressions or samples from the suspect for evidential comparison or matching with other material relating to that offence, for example, from the crime scene. See Note 2H

Doherty. p. 98. *For more discussion of Breen's antisemitism, see Doherty (2009), chapter 10, in the "Further reading" section. a b LaSalle, Mike (2014) Complicated Women: Sex and Power in Pre-Code Hollywood New York: MacMillan. p. 158 ISBN 9781466876972 In Freaks, director Tod Browning of Dracula fame helms a film that depicts a traveling circus populated by a group of deformed carnival freaks. Browning populated the movie with actual carnival sideshow performers including "midgets, dwarfs, hermaphrodites, Siamese twins, and, most awful, the armless and legless man billed as the 'living torso '". [243] There is also a group of Pinheads, who are depicted as fortunate in that they are not mentally capable enough to understand that they disgust people. [243] But the truly unsavory characters here are the villains, the circus strongman Hercules and the beautiful high-wire artist Cleopatra, who intends to marry and poison Hans, the midget heir who is enamored of her. At a dinner celebrating their union, one of the freaks dances on the table as they chant "gooble-gobble, gobble, gobble, one of us, one of us, we accept her, we accept her." Disgusted, Cleopatra insults Hans and makes out with Hercules in front of him. When the freaks discover her plot, they exact revenge by mutilating Cleopatra into a freak. [244] Although circus freaks were common in the early 1930s, the film was their first depiction on screen. [243] Browning took care to linger over shots of the deformed, disabled performers with long takes of them including one of the "living torso" lighting a match and then a cigarette with his mouth. The film was accompanied by a sensational marketing campaign that asked sexual questions such as "Do the Siamese Twins make love?", "What sex is the half-man half-woman?", and "Can a full grown woman truly love a midget?" [245] Surprisingly, given its reaction to Frankenstein, the state of Kansas objected to nothing in Freaks. [246] However, other states, such as Georgia, were repulsed by the film and it was not shown in many locales. [247] The film later became a cult classic spurred by midnight movie showings, [248] but it was a box-office bomb in its original release. [249]

The Wild West Of Pre-Code Hollywood

An officer might decide that a person’s name cannot be readily ascertained if they fail or refuse to give it when asked, particularly after being warned that failure or refusal is likely to make their arrest necessary (see Note 2D). Grounds to doubt a name given may arise if the person appears reluctant or hesitant when asked to give their name or to verify the name they have given. Eric Johnston to Rule Movies". The Spokesman-Review. 20 September 1945 . Ret Prison films of the pre-Code era often involved men who were unjustly incarcerated, and films set in prisons of the North tended to portray them as a bastion of solidarity against the crumbling social system of the Great Depression. [138] Sparked by the real-life Ohio penitentiary fire on April 21, 1930, in which guards refused to release prisoners from their cells, causing 300 deaths, the films depicted the inhumane conditions inside prisons in the early 1930s. [138] The genre was composed of two archetypes: the prison film and the chain-gang film. [139] Prison films typically depicted large hordes of men moving about in identical uniforms, resigned to their fate and living by a well-defined code. [140] In chain-gang films, Southern prisoners were often subjected to a draconian system of discipline in the blazing outdoor heat, where they were treated terribly by their ruthless captors. [138] I am a Fugitive from a Chain Gang (starring Paul Muni, 1932) was based on the autobiographical memoirs of Robert E. Burns, who was himself a fugitive when the film was released. The film proved to be a powerful catalyst for later criminal-justice and social reforms.

Having determined that the necessity criteria have been met and having made the arrest, the officer can then consider the use of street bail on the basis of the effective and efficient progress of the investigation of the offence in question. It gives the officer discretion to compel the person to attend a police station at a date/time that best suits the overall needs of the particular investigation. Its use is not confined to dealing with child care issues or allowing officers to attend to more urgent operational duties and granting street bail does not retrospectively negate the need to arrest. Records of interview, significant statements or silences will be treated in the same way as set out in sections 10 and 11 of Code C and in Codes E and F (audio and visual recording of interviews). Notes for Guidance Children & Young Persons Act 1969, section 32(1A) (absconding) – arrest to return the person to the place where they are required to reside; 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. [172] While gangster films were claimed to corrupt the morals of young boys, vice films were blamed for threatening the purity of adolescent women. [163] Content [ edit ] Kay Johnson in Madam Satan (1930), directed by Cecil B. DeMillef) to prevent any prosecution for the offence from being hindered by the disappearance of the person in question. The arrested person must be informed that they have been arrested, even if this fact is obvious, and of the relevant circumstances of the arrest in relation to both the above elements. The custody officer must be informed of these matters on arrival at the police station. See paragraphs 2.9, 3.3 and Note 3 and Code C paragraph 3.4. (a) ‘Involvement in the commission of an offence’ The function of motion pictures is to ENTERTAIN. ... This we must keep before us at all times and we must realize constantly the fatality of ever permitting our concern with social values to lead us into the realm of propaganda ... the American motion picture ... owes no civic obligation greater than the honest presentment of clean entertainment and maintains that in supplying effective entertainment, free of propaganda, we serve a high and self-sufficing purpose. Social problem films [ edit ]

Bisexual actress Marlene Dietrich cultivated a cross-gender fan base and started a trend when she began wearing men's suits. She caused a commotion when she appeared at the premiere of The Sign of the Cross in 1932 in a tuxedo, complete with top hat and cane. [205] The appearance of homosexual characters was at its height in 1933; in that year, Hays declared that all gay male characters would be removed from pictures. Paramount took advantage of the negative publicity Dietrich generated by signing a largely meaningless agreement stating that they would not portray women in male attire. [206] Comedy [ edit ] See Jowett, Jarvie and Fuller, p. 92. Frequently this number is mistakenly given as nine; nine were announced, but only eight were ever released. Columbia Pictures Pre-Code Collection (TCM, November 25, 2014) includes Ten Cents a Dance, Arizona, Three Wise Girls, Shopworn and Virtue.

Who writes the Editors' Code?

This might apply where the suspect has already used or threatened violence against others and it is thought likely that they may assault others if they are not arrested. See Note 2D In applying the criteria, the arresting officer has to be satisfied that at least one of the reasons supporting the need for arrest is satisfied. The custody record will serve as a record of the arrest. Copies of the custody record will be provided in accordance with paragraphs 2.4 and 2.4A of Code C and access for inspection of the original record in accordance with paragraph 2.5 of Code C. (b) Interviews and arrests