Previously, I wrote about how television networks frequently self-censor lewd and explicit content from their broadcasts. In the world of film, censorship operates in a similarly self-imposed fashion. The Motion Picture Association (“MPA,” formerly the MPAA) reviews films for content and provides a rating for nearly every film that is released. However, the MPA is not affiliated with the U.S. government, nor is there any law requiring that a film receive a rating from the MPA. It is a private institution whose ratings are completely optional. Why, then, do studios subject themselves to MPA ratings?

How Movie Censorship Differs from Broadcast Regulation

“Censorship” in film is distinct from censorship in television and radio. Films are intended to be released in theatres and subsequently made available for purchase or streaming. Since they are not broadcast over public airwaves, they are not subject to FCC oversight. Once the final cut of a film has been completed, there is no need to subsequently cut scenes or censor profanity from the finished product (unless, of course, the movie is being broadcast on a traditional television network). Thus, “censorship” occurs on the cutting room floor. Films are distributed “pre-censored”; the final cut of the film is the final cut that is released in theatres.

Creative and Commercial Pressures Behind the Final Cut

What determines what makes the final cut? Obviously, certain material is cut from a film to serve the story or the director’s vision. Studios may also have concerns over runtime and cut down certain sections to ensure the film is not too long. Moreover, content may be cut to ensure a certain rating from the MPA is achieved.

As every teenager knows, R-rated movies are restricted to those who are 17 and older. Unless you have a cool parent or a fake ID, these movies are off-limits. For studios, the difference between a PG-13 and an R rating could severely impact performance at the box office. Cutting “adult” material from a film to obtain a PG-13 rating could result in major financial gain because the film can be shown to a larger audience. Yet, these ratings are completely self-imposed. There is no government oversight setting guidelines for these ratings, nor is there any method of enforcement for violating the rating system. They are completely voluntary. Given the financial stakes of these ratings, why are studios willing to conform to them?

A Brief History of the MPA and the Hays Code

In the early 1920s, the film industry was in crisis due to criminal scandals and drug overdoses involving prominent stars. This unfavorable press brought unwanted attention from Christian-conservative Americans who wanted to crack down on the scandalous industry. To combat this negative press, the MPA was founded in 1922 to rehabilitate the “immoral” image of Hollywood. William Hays was selected to spearhead the organization because of his religious roots and former leadership role in the Republican Party. Hays developed what was known as the “Hays Code” to ensure the absence of “offensive material” from film. This code reassured lawmakers that Hollywood had things under control. Through self-regulation, the film industry could ensure that the government did not impose its own set of unfavorable, restrictive rules on content.

The Modern Movie Rating System Explained

This code laid the foundation for the modern rating system. Today, the MPA issues five distinct ratings:

• G – General Audiences
  All ages admitted
• PG – Parental Guidance
  Some material may not be suitable for children
• PG-13 – Parents Strongly Cautioned
  Some material may be inappropriate for children under 13
• R – Restricted
  Under 17 requires accompanying parent or guardian
• NC-17 – Adults Only
  No one under 17 admitted

When the Ratings Board Shapes the Film

Major studios, distributors, and theatre chains have all agreed to abide by the code. Despite the lack of strict legal requirement, the major players have agreed to conform with the rating system to ensure the government does not meddle with the film industry. Kicking a 14-year-old out of an R-rated movie is not required by law, but theatres like AMC will enforce these rules to ensure conformity with the rating system.

However, by handing over the keys to the MPA, Hollywood vested the organization with a level of power that drastically altered the landscape of the industry. Hollywood succeeded in preventing government intervention, but the regulatory body they created gained a level of power that became film-altering. For example, Martin Scorsese’s Taxi Driver initially received an X rating (the equivalent of today’s NC-17) in large part due to the graphic finale of the film. Columbia Pictures forced Scorsese to change the finale so the film could receive an R rating. Scorsese made minor edits and altered the color saturation of the final scene. These changes allowed the film to receive an R rating. The R rating made the film financially viable—at the time, an X-rated picture could not be shown in most theatres and would have been destined for financial failure.

Will the MPA Still Matter in the Streaming Era?

The landscape of Hollywood is much different today than it was in the 1920s or 1970s. While theatrical releases still occur, streaming is now the dominant medium for Americans to consume their films. Further, streamers produce a large percentage of their own content. Given that the distributor is also the creator, it seems the necessity of an MPA rating is greatly reduced. There are no barriers to releasing an X-rated picture on streaming; there’s no pimple-faced attendant ensuring your age before you click “play” on a Netflix movie. It seems that as major content producers move away from the theatrical model, the incentives for complying with the MPA are not as strong.

Despite this, the current rating system has served its purpose for nearly 100 years. “Let sleeping dogs lie,” as they say. Breaking from the industry standard carries with it immense risk—namely, government intervention. Further, the ratings are an important tool for parents to gauge whether a movie is appropriate for their children. Even today, I don’t think many parents would allow their 10-year-olds to watch Taxi Driver unaccompanied. Filmgoers have become accustomed to the ratings and rely on them to know what to expect from a film. Only time will tell if these ratings persist for the next 100 years.