Of course, they were calls that Hays himself, working behind the scenes, had helped to make overwhelming — and he used the pressure to force filmmakers to toe his line and obey the new Production Code he eventually promulgated."The code sets up high standards of performance for motion-picture producers," Hays proclaimed when the new code was unveiled. "It states the considerations which good taste and community value make necessary in this universal form of entertainment."Among those considerations: that no picture should ever "lower the moral standards of those who see it" and that "the sympathy of the audience shall never be thrown to the side of crime, wrongdoing, evil or sin."There was an updated, much-expanded list of "don'ts" and "be careful," with bans on nudity, suggestive dancing and lustful kissing.The mocking of religion and the depiction of illegal drug use were prohibited, as were interracial romance, revenge plots and the showing of a crime method clearly enough that it might be imitated.
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Rule of thirds
It could be portrayed as the color or just overal photo
A musical parameter is a measurement tool that allows us to evaluate the various components of music. ... the three most common musical parameters used are the rhythm, the Tempo, and the key signature of the music.
Three categories are rhythm, the Tempo, and the key signature of the music.
Answer:
Explanation:
"I Will Not Make Any More Boring Art," repeated in a neat cursive script down the length of a sheet of lined paper is clearly reminiscent of an old-fashioned school-room punishment. But just who is it that the artist, John Baldessari, is punishing? The lines are stark and simple, and like so much of John Baldessari’s art, employs a wry humour that turns on the art world, only in this case, the blackboard is a canvas.
Only a year earlier, in 1970, Baldessari underlined a key rupture in his career and one that was taking place in the art world as well at that time. Since the 1950s, Abstract Expressionism had been the dominant avant-garde style in galleries and art schools. For example, Jackson Pollock’s huge canvases, dense with paint he applied directly, were understood (however inaccurately) to be a direct expression of his internal emotional state.
In Baldessari’s art, words, photographs and paint offer visual statements that are so flat, so bald-faced in their directness and sincerity that they become ironic visual statements aimed at the very definition of what art is. And because these statements are on canvas or within a galley context, they challenge the most sacred theories of modern art, what the artist calls “received wisdom.”
