Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema; 1930-1934

1. On the Cusp of Classical Hollywood CinemaPatrolling the DiegesisPre-Code Contexts2. Breadlines and Box Office Lines: Hollywood in the Nadir of the Great DepressionThe Lost MillionsA Synchronized Industry"Mike Fright"3. Preachment Yarns: The Politics of Mere EntertainmentTelegraphing IdeologyClass DistinctionsProfessional Malfeasance4. Dictators and Democrats: The Rage for OrderHankering for Supermen"The Barrymore of the Capital": The Newsreel Presidency of Franklin Delano RooseveltA New Deal in the Last ReelThe Mad Dog of Europe5. Vice Rewarded: The Wages of Cinematic SinPackaging ViceModels of ImmoralityFigurative LiteralnessQueer Flashes"Women Love Dirt"Working Girls6. Criminal Codes: Gangsters Unbound, Felons in CustodyRushing Toward Death: The Gangster FilmMen Behind Bars: The Prison Film7. Comic Timing: Cracking Wise and Wising UpCommentators on the ActionStory, Screenplay, and All Dialogue by Mae WestNewspaper PatterThe Blue Eagle and Duck Soup (1933)8. News on Screen: The Vividness of Mechanical ImmortalityLibrary StockThe Newsreel EthosCovering Up the Great Depression9. Remote Kinships: The Geography of the Expeditionary FilmPoints on the CompassFaking It: Phoney Expeditions and Real DeathsThe Dark Continent10. Primitive Mating Rituals: The Color Wheel of the Racial Adventure Film"He's White": Tarzan, the Ape Man (1932) and Tarzan and His Mate (1934)Red Skin, Red Lips: Massacre (1934)East Mates West"The Ethiopian Trade"Nerve and Brains: Paul Robeson and The Emperor Jones (1933)Beauty and the Beast: King Kong (1933)11. Nightmare Pictures: The Quality of GruesomenessRugged Individualism: Dracula (1931), Frankenstein (1931), and Their ProgenyThe Lower Orders Rise Up: Island of Lost Souls (1933) and Freaks (1932)12. Classical Hollywood Cinema: The World According to Joseph I. Breen"The Storm of '34"Hollywood Under the CodePost-Code Hollywood Cinema