Progressive Era  
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The Movies and the Progressive Era  

Some film historians, like Lewis Jacobs and David Robinson, have argued that early silent films revolved around "characteristically working class settings," and expressed the interests of the poor in their struggles with the rich and powerful. Other scholars maintain that early movies drew largely upon conventions, stock characters, and routines derived from vaudeville, popular melodrama, Wild West shows, comic strips, and other forms of late nineteenth century popular entertainment.  Given the fact thousands of films were released during the silent era and relatively few have survived, it is dangerous to generalize about movie content. Nevertheless, certain statements about these films do seem warranted.

American films were born in an age of reform, and many early silent movies took as their subject matter the major social and moral issues of the Progressive era: birth control, child labor, divorce, immigration, political corruption, poverty, prisons, prostitution, and women's suffrage. The tone of these films varied widely‑‑some were realistic and straightforward; others treated their subjects with sentimentality or humor; and many transformed complex social issues into personal melodramas. Yet there can be no doubt that many silent films dealt at least obliquely with the dominant issues of the time.

Although many Americans today think of the films of the silent era as relics of a simpler, more innocent age, in fact more serious social and political themes lurked "behind the mask of innocence." As Kevin Brownlow has demonstrated, despite their well‑dressed tramps and child‑like waifs, many early silent films were preoccupied with such broad issues as the the sources of crime, the nature of political corruption, shifting sexual norms, and the changing role of women. The silent screen offered vivid glimpses of urban tenements and ethnic ghettoes; the screen was filled with gangsters, loan sharks, drug addicts, and panderers and provided a graphic record of "how the other half lives."

In addition, many early films were laced with anti‑authority themes, poking fun at bumbling cops, corrupt politicians, and intrusive upper‑class reformers. Highly physical slapstick comedy offered a particularly potent vehicle of social criticism, spoofing the pretensions of the wealthy and presenting sympathetic portraits of the poor. Mack Sennett, one of the most influential directors of silent comedy, later recalled the themes of his films: "I especially liked the reduction of authority to absurdity, the notion that sex could be funny, and the bold insults hurled at Pretension."

Many films of the early silent era dealt with gender relations. Before 1905, as Kathy Peiss has argued, movie screens were filled with salacious sexual imagery and risque humor, drawn from burlesque halls and vaudeville theaters. Early films offered many glimpses of women disrobing or of passionate kisses.  As the movies' female audience grew, sexual titilation and voyeurism persisted. But an ever increasing number of film dealt with the changing work and sexual roles of women in a more sophisticated manner. While D.W. Griffith's films presented an idealized picture of the frail Victorian child‑woman, and showed an almost obsessive preoccupation with female honor and chastity, other silent movies presented quite different images of femininity. These ranged from the exotic, sexually aggressive vamp to the athetic, energetic "serial queen"; the street smart urban working gal, who repels the sexual advances of her lascivious boss; and cigarette‑smoking, alcohol drinking chorus girls or burleque queens.

The Movies as a Cultural Battleground

Reformers of the Progressive era took a highly ambivalent view of the movies. Some praised movies as a benign alternative to the saloon. Others viewed nickelodeons and movie theaters as breeding grounds of crime and sexual promiscuity. In 1907, the Chicago Tribune threw its editorial weight against the movies, declaring that they were "without a redeeming feature to warrant their existence...ministering to the lowest passions of childhood."

That year, Chicago established the nation's first censorship board, to protect its population "against the evil influence of obscene and immoral representations." Also in 1907, and again in 1908, New York's mayor, under pressure from various religious and reform groups, temporarily closed down all of the city's nickelodeons and movie theaters.

As Garth Jowett has shown, many middle‑class vice crusaders regarded the movies were horror and struggled to regulate the new medium. A presidential study concluded that films encouraged "illicit lovemaking and iniquity." A Worcester, Massachusetts newspaper described the city's movie theaters as centers of delinquent activity, and reported that female gang members "confessed that their early tendencies toward evil came from seeing moving pictures." Several bills were introduced in Congress calling for movie censorship.

The drive to censor films spread from Chicago to other municipalities and states, especially after a 1915 Supreme Court ruling that movies were not protected by the First Amendment because they "were a business pure and simple...not to be regarded as part of the press of the country or as organs of public opinion." Eager to combat the trend toward local censorship, movie manufacturers worked with moral reformers in New York to establish the voluntary Board of Censorship of Motion Pictures in 1909, to review the movies' treatment of violence, drugs, prostitution, and, above all, sexual immorality (such as "over‑passionate love scenes; stimulating close dancing; unnecessary bedroom scenes in negligee; excessively low‑cut gowns; [and] undue or suggestive display of the person").

After World War I, a series of sex scandals raised renewed threats of censorship or boycotts. William Desmond Taylor, a director, was found murdered under suspicious circumstances; actor Wallace Reid committed suicide amid allegations of drug addiction; and comedian Fatty Arbuckle was acquitted of rape and complicity in murder. To clean up Hollywood's image, the industry banned Arbuckle and a number of other individuals implicated in scandals, and appointed Will Hays, President Warren Harding's Postmaster General, to head their trade organization. Hays introduced a voluntary code of standards.

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