A Discussion on the Television Era and Filmmaking in America

During the First and Second World War era, television was not widely accessible. Initially, people would visit cinemas for film exhibitions, and only a few homes owned TV sets. By the end of the Second World War, televisions started gaining popularity, and television entertainment became dominant. This upcoming era was characterized by an increased population. Many young people were getting married, having children, and moving to the suburbs for settlement. This caused a reduction in the number of individuals visiting movie theaters in the city. According to the Department of Commerce and the Bureau of Statistical Data of the USA, theater attendance declined consistently from the 1920s to the 1960s, when the number of people who visited theaters for a movie dropped from 80 million to 30 million. The decline can be explained in two dimensions (Kristopher, p. n). The post-war crisis influenced the fall in the 1940s. In the 1950s, after the post-war crisis and people's settlement in the suburbs, televisions became popular, leading to a steady decline in theater audiences.

In 1948, according to a survey by the Theatre Owners of America, twenty television stations were operating in the United States. However, in the southern part of the USA, no television stations were broadcasting. By 1960, 440 commercial television stations were airing, meaning more people had purchased televisions, making it the dominant mode of entertainment. Televisions were being advertised in almost all print media during this era. Between 1950 and 1960, over 10 million TVs were sold (Spencer 57). According to the Warner Bros. poll in 1950, home ownership of televisions contributed to a 46–74% drop in film audiences, which continued to decline over time. The drop was also exacerbated by the introduction of new leisure activities, such as sports.

Elements Employed by the Film Industry to Bring Audiences Back to the Movie Theater

The decline in theater audiences devastated theater production groups, leading to reduced profits. As a result, they launched a campaign against television. New film production strategies included improved full-screen displays, enhanced scope, and color. Cinerama was introduced as a widescreen format. To make this a breakthrough, three cameras, three projectors, and a stereo sound system were required. The use of these new systems allowed audiences to feel as though they were in the center of the play.

Cinerama was common around vacation centers and parks. It gained popularity in the 1950s, but due to its high cost and maintenance, it was eventually abandoned. 3D movies were introduced in the same era, requiring audiences to wear special stereoscopic goggles that made the action appear to pop out of the screen (Buhle, Paul, and Dave 123). However, the glasses were expensive, and many viewers failed to return them, causing this project to fail. Another innovation was Smell-O-Vision, where special gadgets injected with different scents were fitted into cinema seats. The motion and sound of the film would trigger the release of aromas, making the theater experience more immersive and engaging.

Production Code in the 1950s

The Production Code was a set of moral guidelines created for the film production industry. These rules were to be strictly followed before the release of a film to the public. The code was first introduced during the era of Will Hays, who was the leader of the Motion Picture Producers and Distributors of America from 1922 to 1945. It was officially adopted and strictly enforced in the 1930s. Under this code, motion pictures were scrutinized for their content, outlining what was acceptable and unacceptable for public display.

The code remained in effect until the 1950s, when it began to lose popularity. Foreign television programs and films were not subject to the American Production Code, leading to its decline in influence. As a result, bold directors started ignoring the code. The issue was eventually brought to court, and by 1968, the Production Code was replaced by the Motion Picture Association of America (MPAA) film rating system.

How American Cultural and Social Tensions Were Reflected in 1950s Films

In the 1950s, the film industry largely ignored contemporary social issues affecting the people of that era. Many television shows were comedies that portrayed conservative values and an idealized version of American society. Social issues such as racism, civil rights, and politics were rarely addressed. These comedies often concluded with a strong moral lesson, reinforcing the image of the ideal American family.

During this time, many American families were nuclear in nature, as depicted in films. This was influenced by economic conditions, political instability, and the post-war crisis. Many people wanted to settle down, raise families, and enjoy the peaceful life portrayed in films. However, many Americans were immigrants, and many Black families lived in poverty. Yet, these realities were rarely depicted in films, as filmmakers sought to avoid confrontation with the upper class and the government.

By the 1960s, the effects of the Cold War were being felt in the USA. For the first time, film production included live coverage of significant events, such as the assassination of John F. Kennedy. This era marked a shift, as filmmakers dared to address controversial issues without fear of repercussions. By the 1970s, new films featured themes of rebellion and rock and roll. Characters became more sophisticated, and plotlines grew darker. Films from this period also focused on cultural change, power shifts, fashion, and humanitarian efforts. As a result, the film industry began expanding into television entertainment (Spencer 94).