2017.07.10 MOTION PICTURE ASSOCIATION OF AMERICA BACKGROUND GUIDE UPDATE 2 2017 FUDAN UNIVERSITY INTERNATIONAL MODEL UNITED NATIONS CONFERENCE 2017 Fudan University International Model United Nations Conference Motion Picture Association of America – Background Guide Update 2 LICENSING FDUIMUN takes intellectual property protection very seriously. Before you continue reading, please review FDUIMUN’s licensing agreement and copyright notice below. LICENSE This conference update, either in PDF or in print, was created for Fudan University International Model United Nations 2017 and the editorial contents herein remain the intellectual property of FDUIMUN. Delegates and their advisors may reproduce them, in whole or in part, in limited quantities for conference preparation use only but may not mass distribute the materials, electronically or otherwise for any purpose whatsoever. This permission does not apply to any third-party copyrights contained herein. 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MORE INFORMATION If you have any further questions regarding this licensing information, please send an email to: [email protected] for more support. 1 2017 Fudan University International Model United Nations Conference Motion Picture Association of America – Background Guide Update 2 CONTENTS LICENSING ................................................................................................ 1 CONTENTS ................................................................................................ 2 CONTACT INFORMATION ............................................................................ 4 CORRECTION ............................................................................................. 5 1. HOW POLITICS INFLUENCED THE DEVELOPMENT OF CINEMA IN THE USA .... 6 1.1. BEFORE THE CODE ..................................................................................................................................... 6 1.2. BEFORE THE RATING .................................................................................................................................. 8 1.3. CONCLUSION .............................................................................................................................................. 9 2. CASES STUDY ....................................................................................... 11 2.1. FILM CASES STUDY ....................................................................................................................................13 2.2. HONG KONG FILM RATING SYSTEM ..........................................................................................................15 2.3. UNITED KINGDOM FILM RATING SYSTEM .................................................................................................16 2.4. FRANCE FILM RATING SYSTEM ..................................................................................................................18 2.5. COMPARISON BETWEEN THE FOUR FILM RATING SYSTEMS ...................................................................19 3. DELEGATION BACKGROUND .................................................................. 20 3.1. THE “BIG SEVEN” MAJORS AND THEIR FAMOUS WORKS ........................................................................20 3.2. ACTOR ........................................................................................................................................................22 3.3. INTERNATIONAL FILM IMPORTERS AND DISTRIBUTORS OF AMERICA (IFIDA) ........................................22 3.4. STATE REPRESENTATIVES ........................................................................................................................23 3.5. NATIONAL ASSOCIATION OF THEATRE OWNERS (NATO): THEATER OWNERS OF AMERICA (TOA) & ALLIED STATES ASSOCIATION OF MOTION PICTURE EXHIBITORS (ALLIED) .................................................23 3.6. CHURCH REPRESENTATIVES ....................................................................................................................24 3.7. INDEPENDENT STUDIOS ...........................................................................................................................24 3.8. PARENTS ....................................................................................................................................................25 3.9. CIVIL RIGHTS GROUP ................................................................................................................................26 2 2017 Fudan University International Model United Nations Conference Motion Picture Association of America – Background Guide Update 2 3.10. DIRECTORS ..............................................................................................................................................26 4. A GUIDANCE TO FORM YOUR DESIGN ...................................................... 27 5. ASSIGNMENT ....................................................................................... 29 BIBLIOGRAPHY ........................................................................................ 30 3 2017 Fudan University International Model United Nations Conference Motion Picture Association of America – Background Guide Update 2 CONTACT INFORMATION This table is provided for delegates to contact the Dais. If there’s no specific member you wish to communicate with, please send an e-mail to the: [email protected] NAME SCHOOL OCCUPATION 姓名 QQ EMAIL 性别 腾讯 George Jia’ao Ji George Washington University 吉家骜 514994862 [email protected] DAIS HEAD 男 Lawrence Jixin Jia Harverford College 贾冀新 2439560525 [email protected] 男 Cora Yue Mao New York University, Abu Dhabi 毛玥 462135264 [email protected] 女 Liz Yijing Wang Shanghai International Studies University DAIS MEMBER 王艺静 1485414772 [email protected] 女 Doris Yuhan Wang 王雨涵 河南省实验中学 2414028872 [email protected] 女 4 2017 Fudan University International Model United Nations Conference Motion Picture Association of America – Background Guide Update 2 CORRECTION The dais shall amend the term ‘BIG SIX’ to ‘Major Studios’, regarding the fact that there were still seven major studios (MGM, Warner Bros. Pictures, Paramount Pictures, Inc., 20th Century Fox Film Corporation, Columbia Pictures, United Artists and Universal Studios) in Hollywood in 1960s. United Artists were not merged with MGM until 1981. Besides, in the last update, the dais didn’t offer you an explicit definition of the Statement of MPAA. The Statement of MPAA is a list of gist in the upcoming discussion which includes but not limited to: the purpose, the strategy to achieve the committee’s goal. Apologies for your confusions. Dais Head Jia’ao Ji 5 2017 Fudan University International Model United Nations Conference Motion Picture Association of America – Background Guide Update 2 1. HOW POLITICS INFLUENCED THE DEVELOPMENT OF CINEMA IN THE USA Over the course of the 20th century, plenty of matters including national politics, social change, cultural constructions of American identity were determined by the Hollywood Film Industry. Within the involvement of such a controversial interference like the national politics in films, both domestic and international political pressure were posted to the Hollywood Film Industry. Hence they influenced the negotiations and censoring policies in the film industry throughout the era of the production code. While the terminology of “politics” can be disputable to various levels, the dais of the MPAA 1960 would suggest a clear focus on the relatively internal political factors in terms of this topic. Other associated topics would likely be: individual involvement with the political process, the construction of political ideology and the creation of national identity through film; propaganda efforts; the shifting political priorities of the industry, and the impact of local, state, and national politics on motion picture productions and business structures. (Brownell, 2014) 1.1. BEFORE THE CODE The public outrage burst out after a chaotic trial of former Hollywood star, Roscoe Fat Arbuckle, but how come this criticism of extravagance in Hollywood became so fierce that the whole industry had to self- regulate in the end? To understand this problem, a deeper look into Pre-code era has to be taken. Beneath the economic soar in 1920s, the social values have undergone a drastic change with the prosperity of media and the revival of religion. Then the Great Depression swept the whole nation in 1930s and it destroyed the faith and fantasy bubble of most Americans. When Americans tried to rehabilitate their society and minds with traditional values, the seed of Production Code grew quietly but steadily in this period. The following analysis will inform you some of the reasons that the dais considered significant. CRITICISM ON NEW THRILLERS One could easily put many tags on 1920s: Roaring twenties, Jazz Age or Golden Age of Radio.