The Production Code of the Motion Picture Industry (1930-1967)
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Movies from 1930 to 1967 were governed by a Production Code. This web site reproduces it and gives examples of where the Code prevented proposed stories and scenes from reaching American cinemas. (To understand how the several versions of the Code changed over nearly four decades and how these versions have been collated for this web site, consult the Tutorial. This link will open a new window. Note: the 1966 revision of the Code was so heavily changed from its predecessors that its passages are not collated into the ones presented in the current frame. Use the link on the Tutorial to access the 1966 Code as a standalone file.)
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Except where a passage is inside a cell headed by |
The Production Code
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From December 1944 to January 1, 1949, the following Foreward was part of the Code |
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Motion pictures made in the United States are, with few exceptions, produced in accordance with the provisions of a Production Code. A majority of the foreign pictures, exhibited in theatres here, likewise conform to these self-imposed industry rules and regulations. |
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Beginning January 1, 1949, and continuing for several years, |
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Motion pictures made in the United States are, with few exceptions, produced in accordance with the provisions of a Production Code. A majority of the foreign pictures, exhibited in theatres here, likewise conform to these self-imposed industry rules and regulations. |
Preamble
Motion picture producers recognize the high trust and confidence which have been placed in them by the people of the world and which have made motion pictures a universal form of entertainment.
They recognize their responsibility to the public because of this trust and because entertainment and art are important influences in the life of a nation.
Hence, though regarding motion pictures primarily as entertainment without any explicit purpose of teaching or propaganda, they know that the motion picture within its own field of entertainment may be directly responsible for spiritual or moral progress, for higher types of social life, and for much correct thinking.
During the rapid transition from silent to talking pictures they realized the necessity and the opportunity of subscribing to a Code to govern the production of talking pictures and of acknowledging this responsibility.
On their part, they ask from the public and from public leaders a sympathetic understanding of their purposes and problems and a spirit of cooperation that will allow them the freedom and opportunity necessary to bring the motion picture to a still higher level of wholesome entertainment for all the people.
General Principles
1. No picture shall be produced which will lower the moral standards of those who see it. Hence the sympathy of the audience shall never be thrown to the side of crime, wrong-doing, evil or sin.
2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.
Particular Applications
I. Crimes Against the Law
These shall never be presented in such a way as to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation.
(a) The technique of murder must be presented in a way that will not inspire imitation.
(b) Brutal killings are not to be presented in detail.
(c) Revenge in modern times shall not be justified.
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From the mid-1950s |
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(d) Mercy killing shall never be made to seem right or permissable. |
2. Methods of crime should not be explicitly presented.
(a) Theft, robbery, safe-cracking, and dynamiting of trains, mines, buildings, etc., should not be detailed in method.
(b) Arson must be subject to the same safeguards.
(c) The use of firearms should be restricted to essentials.
(d) Methods of smuggling should not be presented.
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March 31, 1930, to September 11, 1946 |
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3. Illegal drug traffic must never be presented. |
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September 11, 1946 to March 27, 1951 |
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3. The illegal drug traffic must not be portrayed in such a way as to stimulate curiosity concerning the use of, or traffic in, such drugs; nor shall scenes be approved which show the use of illegal drugs, or their effects, in detail. |
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March 27, 1951, to December 1956 |
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3. Illegal drug traffic must never be presented. |
4. The use of liquor in American life, when not required by the plot or for proper characterization, will not be shown.
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From December 1956 |
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[At this point in the 1956 revision, there appears additional clauses which are rewritten versions of clauses of the“Reasons Underlying Particular Applications”sections of the 1938 revision of the Code.Items numbered 3, 4, 5, 6, 7 and 10 of the 1956 Code are adaptations of the“Reasons”for Section I, items 4 ("sacredness of life"), 5 ("suicide"), 7 ("criminal activities in which minors participate"), 8 (called "excessive flaunting of weapons by criminals" in the later Code), 6 ("law-enforcement officers dying at the hands of criminals"), and 11 ("kidnapping or illegal abduction of children"), respectively.Click here for a pop-up window which charts the differences. [The 1956 revised Code, in its item 9, expands the "Drug addiction/traffic" passage that had been item 3 prior to 1956:] 9. Drug addiction or the illicit traffic in addiction-producing drugs shall not be shown if the portrayal: (a) Tends in any manner to encourage, stimulate, or justify the use of such drugs; or (b) Stresses, visually or by dialog, their temporary attractive effects; or (c) Suggests that the drug habit may be quickly or easily broken; or (d) Shows details of drug procurement or of the taking of drugs in any manner; or (e) Emphasizes the profits of the drug traffic; or (f) Involves children who are shown knowingly to use or traffic in drugs. 10. Stories on the kidnapping or illegal abduction of children are acceptable under the Code only when (a) when the subject is handled with restraint and discretion and avoids details, gruesomeness and undue horror; and (b) the child is returned unharmed. The 1956 revised Code changes the clause numbers so that the introductory statement ("shall never be presented in such a way as to throw sympathy with the crime") becomes "1.," thereby resulting in the renumbering of item 1 from the original (the "Murder" passage) as number 8 without any new item being necessary to account for the highest numbered item reaching being 10. Click here for a chart showing how the two versions of the code numbered the sections (a new browser window will open) |
II. Sex
The sanctity of the institution of marriage and the home shall be upheld. Pictures shall not infer that low forms of sex relationship are the accepted or common thing.
1. Adultery and illicit sex, sometimes necessary plot material, must not be explicitly treated or justified, or presented attractively.
(a) These should not be introduced except where they are definitely essential to the plot.
(b) Excessive and lustful kissing, lustful embraces, suggestive postures and gestures are not to be shown.
(c) In general, passion should be treated in such manner as not to stimulate the lower and baser emotions.
(a) These should never be more than suggested, and then only when essential for the plot. They must never be shown by explicit method.
(b) They are never the proper subject for comedy.
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June 13, 1934, to March 27, 1951 |
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7. Sex hygiene and venereal diseases are not proper subjects for theatrical motion pictures. |
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March 27, 1951 to December 1956 |
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7. Abortion, sex hygiene and venereal diseases are not proper subjects for theatrical motion pictures. |
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From December 1956 |
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7. Sex hygiene and venereal diseases are not proper subjects for theatrical motion pictures. [Although it may appear that abortion was removed as a topic in the Code in 1956, it was in fact merely moved to item 4 of the present section.] |
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March 31, 1930, to December 1956 |
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8. Scenes of actual childbirth, in fact or in silhouette, are never to be presented. |
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March 31, 1930, to December 1956 |
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9. Children’s sex organs are never to be exposed. |
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From December 1956 |
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8. Children’s sex organs are never to be exposed. This provision shall not apply to infants. |
III. Vulgarity
The treatment of low, disgusting, unpleasant, though not necessarily evil, subjects should be guided always by the dictates of good taste and a proper regard for the sensibilities of the audience.
IV. Obscenity
Obscenity in word, gesture, reference, song, joke or by suggestion (even when likely to be understood only by part of the audience) is forbidden.
V. Profanity
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November 1, 1939, to mid-1940s |
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(2) The following words and phrases are invariably deleted by political censor boards: Bum (in England) (3) The following words and phrases are obviously offensive to the patrons of motion pictures in the United States and more particularly to the patrons of motion pictures in foreign countries and, therefore, should be omitted: Chink (Chinese) |
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Mid-1940s to December 1956 |
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Pointed profanity and every other profane or vulgar expression, however used, is forbidden. No approval by the Production Code Administration shall be given to the use of words and phrases in motion pictures including, but not limited to, the following: Alley cat (applied to a woman); bat (applied to a woman); broad (applied to a woman); Bronx cheer (the sound); chippie; cocotte; God, Lord, Jesus, Christ (unless used reverently); cripes; fanny; fairy (in a vulgar sense); finger (the); fire, cries of; Gawd; goose (in a vulgar sense); “hold your hat” or “hats”; hot (applied to a woman); “in your hat”; louse; lousy; Madam (relating to prostitution); nance, nerts; nuts (except when meaning crazy); pansy; razzberry (the sound); slut (applied to a woman); SOB.; son-of-a; tart; toilet gags; tom cat (applied to a man); traveling salesman and farmer’s daughter jokes; whore; damn; hell (excepting when the use of said last two words shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore, or for the presentation in proper literary context of a Biblical, or other religious quotation, or a quotation from a literary work provided that no such use shall he permitted which is intrinsically objectionable or offends good taste). In the administration of Section V of the Production Code, the Production Code Administration may take cognizance of the fact that the following words and phrases are obviously offensive to the patrons of motion pictures in the United States and more particularly to the patrons of motion pictures in foreign countries: Chink, Dago, Frog, Greaser, Hunkie, Kike, Nigger, Spic, Wop, Yid. |
VI. Costume
1. Complete nudity is never permitted. This includes nudity in fact or in silhouette, or any licentious notice thereof by other characters in the pictures.
2. Undressing scenes should be avoided, and never used save where essential to the plot.
3. Indecent or undue exposure is forbidden.
4. Dancing costumes intended to permit undue exposure of indecent movements in the dance are forbidden.
VIII. Religion
1. No film or episode may throw ridicule on any religious faith.
2. Ministers of religion in their character as ministers of religion should not be used as comic characters or as villains.
3. Ceremonies of any definite religion should be carefully and respectfully handled.
X. National Feelings
1. The use of the flag shall be consistently respectful.
2. The history, institutions, prominent people and citizenry of all nations shall be represented fairly.
XI. Titles
XII. Repellent Subjects
The following subjects must be treated within the careful limits of good taste.
1. Actual hangings or electrocutions as legal punishments for crime.
3. Brutality and possible gruesomeness.
4. Branding of people or animals.
5. Apparent cruelty to children or animals.
6. The sale of women, or a woman selling her virtue.
[At this point in the 1956 revised code, all of the above section 12 is gone. However, the items other than numbers 4 and 5 do appear in other sections. There is a section numbered 12 in the 1956 revised Code but it is the “Cruelty to Animals” section (see below), which prior to 1956 was unnumbered.]
Reasons Supporting Preamble of Code
I. Theatrical motion pictures, that is, pictures intended for the theatre as distinct from pictures intended for churches, schools, lecture halls, educational movements, social reform movements, etc., are primarily to be regarded as entertainment. Mankind has always recognized the importance of entertainment and its value in rebuilding the bodies and souls of human beings.
But it has always recognized that entertainment can be of a character either HELPFUL or HARMFUL to the human race, and in consequence has clearly distinguished between:
(a) Entertainment which tends to improve the race, or at least to re-create and rebuild human beings exhausted with the realities of life; and
(b) Entertainment which tends to degrade human beings, or to lower their standards of life and living.
Hence the Moral importance of entertainment is something Which has been universally recognized. It enters intimately into the lives of men and women and affects them closely; it occupies their minds and affections during leisure hours; and ultimately touches the whole of their lives. A man may be judged by his standard of entertainment as easily as by the standard of his work.
So correct entertainment raises the whole standard of a nation.
Wrong entertainment lowers the whole living conditions and moral ideals of a race.
Note, for example, the healthy reactions to healthful sports, like baseball, golf; the unhealthy reactions to sports like cockfighting, bullfighting, bear baiting, etc.
Note, too, the effect on ancient nations of gladiatorial combats, the obscene plays of Roman times, etc.
II. Motion pictures are very important as art. Though a new art, possibly a combination art, it has the same object as the other arts, the presentation of human thought, emotion, and experience, in terms of an appeal to the soul through the senses.
Here, as in entertainment,
Art enters intimately into the lives of human beings.
Art can be morally good, lifting men to higher levels. This has been done through good music, great painting, authentic fiction, poetry, drama.
Art can be morally evil in its effects. This is the case clearly enough with unclean art, indecent books, suggestive drama. The effect on the lives of men and women is obvious.
Note: It has often been argued that art in itself is unmoral, neither good nor bad. This is perhaps true of the thing product of some person’s mind, and the intention of that mind was either good or bad morally when it produced the thing.
Besides, the thing has its effect upon those who come into contact with it. In both these ways, this is, as a product of a mind and as the cause of definite effects, it has a deep moral significance and an unmistakable moral quality.
Hence: The motion pictures, which are the most popular arts for the masses, have their moral quality from the intention of the minds which produce them and from their effects on the moral lives and reactions of their audiences. This gives them a most important moral quality.
1. They reproduce the morality of the men who use the pictures as a medium for the expression of their idea and ideals.
2. They affect the moral standards of those who, through the screen, take in these ideas and ideals.
In the case of the motion pictures, this effect may be particularly emphasized because no art has so quick and so widespread an appeal to the masses. It has become in an incredibly short period the art of the multitudes.
III. The motion picture, because of its importance as entertainment and because of the trust placed in it by the peoples of the world, has special moral obligations:
A. Most arts appeal to the mature. This art appeals at once to every class, mature, immature, developed, underdeveloped, law abiding, criminal. Music has its grades for different classes; so has literature and drama. This art of the motion picture, combining as it does the two fundamental appeals of looking at a picture and listening to a story, at once reached every class of society.
B. By reason of the mobility of a film and the ease of picture distribution, and because of the possibility of duplicating positives in large quantities, this art reaches places unpenetrated by other forms of art.
C. Because of these two facts, it is difficult to produce films intended for only certain classes of people. The exhibitor’s theatres are built for the masses, for the cultivated and the rude, the mature and the immature, the self-respecting and the criminal. Films, unlike books and music, can with difficulty be confined to certain selected groups.
D. The latitude given to film material cannot, in consequence, be as wide as the latitude given to book material. In addition:
(a) A book describes; a film vividly presents. One presents on a cold page; the other by apparently living people.
(b) A book reaches the mind through words merely; a film reaches the eyes and ears through the reproduction of actual events.
(c) The reaction of a reader to a book depends largely on the keenness of the reader’s imagination; the reaction to a film depends on the vividness of presentation.
Hence many things which might be described or presented in a book could not possibly be presented in a film.
E. This is also true when comparing the film with the newspaper.
(a) Newspapers present by description, films by actual presentation.
(b) Newspapers are after the fact and present things as having taken place, the film gives the events in the process of enactment and with apparent reality of life.
F. Everything possible in a play is not possible in a film:
(a) Because of the large audience of the film, and its consequential mixed character. Psychologically, the larger the audience, the lower the moral mass resistance to suggestion.
(b) Because through light, enlargement of character, presentation, scenic emphasis, etc., the screen story is brought closer to the audience than the play.
(c) The enthusiasm for and interest in the film actors and actresses, developed beyond anything of the sort in history, makes the audience largely sympathetic toward the characters they portray and the stories in which they figure. Hence the audience is more ready to confuse actor and actress and the characters they portray, and it is more receptive of the emotions and ideals presented by their favorite stars.
G. Small communities, remote from sophistication and from the hardening process which often takes place in the ethical and moral standards of groups in large cities, are easily and readily reached by any sort of film.
H. The grandeur of mass settings, large action, spectacular features, etc., affect and arouses more intensely the emotional side of the audience.
In general, the mobility, popularity, accessibility, emotional appeal, vividness, straightforward presentation of fact in the film make for more intimate contact with a larger audience and for greater emotional appeal.
Hence the larger moral responsibilities of the motion pictures.
Reasons Underlying the General Principles
1. No picture shall be produced which will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of the crime, wrong-doing, evil or sin.
This is done:
(1) When evil is made to appear attractive or alluring, and good is made to appear unattractive.
(2) When the sympathy of the audience is thrown on the side of crime, wrong-doing, evil, sin. The same thing is true of a film that would throw sympathy against goodness, honor, innocence, purity, or honesty.
Note: Sympathy with a person who sins is not the same as sympathy with the sin or crime of which he is guilty. We may feel sorry for the plight of the murderer or even understand the circumstances which led him to his crime. We may not feel sympathy with the wrong which he has done. The presentation of evil is often essential for art or fiction or drama. This in itself is not wrong provided:
a. That evil is not presented alluringly. Even if later in the film the evil is condemned or punished, it must not he allowed to appear so attractive that the audience’s emotions are drawn to desire or approve so strongly that later the condemnation is forgotten and only the apparent joy of the sin remembered. 
b. That throughout, the audience feels sure that evil is wrong and good is right.
2. Correct standards of life shall, as far as possible, be presented.
A wide knowledge of life and of living is made possible through the film. When right standards are consistently presented, the motion picture exercises the most powerful influences. It builds character, develops right ideals, inculcates correct principles, and all this in attractive story form.
If motion pictures consistently hold up for admiration high types of characters and present stories that will affect lives for the better, they can become the most powerful natural force for the improvement of mankind.
3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.
By natural law is understood the law which is written in the hearts of all mankind, the great underlying principles of right and justice dictated by conscience.
By human law is understood the law written by civilized nations.
1. The presentation of crimes against the law is often necessary for the carrying out of the plot. But the presentation must not throw sympathy with the crime as against the law nor with the criminal as against those who punish him.
2. The courts of the land should not he presented as unjust. This does not mean that a single court may not be represented as unjust, much less than a single court official must not be presented this way. But the court system of the country must not suffer as a result of this presentation.
Reasons Underlying Particular Applications
1. Sin and evil enter into the story of human beings and hence in themselves are valid dramatic material.
2. In the use of this material, it must be distinguished between sin which repels by its very nature, and sins which often attract.
a. In the first class come murder, most theft, many legal crimes, lying, hypocrisy, cruelty, etc.
b. In the second class come sex sins, sins and crimes of apparent heroism, such as banditry, daring thefts, leadership in evil, organized crime, revenge, etc.
The first class needs less care in treatment, as sins and crimes of this class are naturally unattractive. The audience instinctively condemns all such and is repelled.
Hence the important objective must be to avoid the hardening of the audience, especially of those who are young and impressionable, to the thought and fact of crime. People can become accustomed even to murder, cruelty, brutality, and repellent crimes, if these are too frequently repeated.
The second class needs great care in handling, as the response of human nature to their appeal is obvious. This is treated more fully below.
3. A careful distinction can be made between films intended for general distribution, and films intended for use in theatres restricted to a limited audience. Themes and plots quite appropriate for the latter would be altogether out of place and dangerous in the former.
Note: The practice of using a general theatre and limiting its patronage during the showing of a certain film to “Adults Only” is not completely satisfactory and is only partially effective.
However, maturer minds may easily understand and accept without harm subject matter in plots which do younger people positive harm.
Hence: If there should be created a special type of theatre, catering exclusively to an adult audience for plays of this character (plays with problem themes, difficult discussions and maturer treatment) it would seem to afford an outlet, which does not now exist, for pictures unsuitable for general distribution but permissible for exhibitions to a restricted audience.
I. Crimes Against the Law
The treatment of crimes against the law must not:
1. Teach methods of crime.
2. Inspire potential criminals with a desire for imitation.
3. Make criminals seem heroic and justified.
Revenge in modern times shall not be justified. In lands and ages of less developed civilization and moral principles, revenge may sometimes be presented. This would be the case especially in places where no law exists to cover the crime because of which revenge is committed.
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March 31, 1930, to June 13, 1934 |
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Because of its evil consequences, the drug traffic should not be presented in any form. The existence of the trade should not be brought to the attention of audiences. |
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June 13, 1934, to September 11, 1946 |
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Because of its evil consequences, the drug traffic should not be presented in any form. |
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From September 11, 1946 |
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[The above sentence was gone, but the subject was treated in the new item 9 in the revision of section 1] |
The use of liquor should never be excessively presented. In scenes from American life, the necessities of plot and proper characterization alone justify its use. And in this case, it should be shown with moderation.
II. Sex
Out of regard for the sanctity of marriage and the home, the triangle, that is, the love of a third party for one already married, needs careful handling. The treatment should not throw sympathy against marriage as an institution.
Scenes of passion must be treated with an honest acknowledgement of human nature and its normal reactions. Many scenes cannot be presented without arousing dangerous emotions on the part of the immature, the young, or the criminal classes.
Even within the limits of pure love, certain facts have been universally regarded by lawmakers as outside the limits of safe presentation. In the case of impure love, the love which society has always regarded as wrong and which has been banned by divine law, the following are important:
1. Impure love must not be presented as attractive and beautiful.
2. It must not be the subject of comedy or farce, or treated as material for laughter.
3. It must not be presented in such a way as to arouse passion or morbid curiosity on the part of the audience.
4. It must be made to seem right and permissible.
5. In general, it must not be detailed in method and manner.
III. Vulgarity; IV. Obscenity; V. Profanity; hardly need further explanation than is contained in the Code.
VI. Costume
1. The effect of nudity or semi-nudity upon the normal man or woman, and much more upon the young and upon immature persons, has been honestly recognized by all lawmakers and moralists.
2. Hence the fact that the nude or semi-nude body may be beautiful does not make its use in the films moral. For, in addition to its beauty, the effect of the nude or semi-nude body on the normal individual must be taken into consideration.
3. Nudity or semi-nudity used simply to put a “punch” into a picture comes under the head of immoral actions. It is immoral in its effect on the average audience.
4. Nudity can never be permitted as being necessary for the plot. Semi-nudity must not result in undue or indecent exposures.
5. Transparent or translucent materials and silhouette are frequently more suggestive than actual exposure.
VII. Dances
Dancing in general is recognized as an art and as a beautiful form of expressing human emotions.
But dances which suggest or represent sexual actions, whether performed solo or with two or more; dances intended to excite the emotional reaction of an audience; dances with movement of the breasts, excessive body movements while the feet are stationary, violate decency and are wrong.
VIII. Religion
The reason why ministers of religion may not be comic characters or villains is simply because the attitude taken toward them may easily become the attitude taken toward religion in general. Religion is lowered in the minds of the audience because of the lowering of the audience’s respect for a minister.
IX. Locations
Certain places are so closely and thoroughly associated with sexual life or with sexual sin that their use must be carefully limited.
X. National Feelings
The just rights, history, and feelings of any nation are entitled to most careful consideration and respectful treatment.
XI. Titles
As the title of a picture is the brand on that particular type of goods, it must conform to the ethical practices of all such honest business.
XII. Repellent Subjects
Such subjects are occasionally necessary for the plot. Their treatment must never offend good taste nor injure the sensibilities of an audience.
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December 20, 1938, to March 27, 1951 |
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5. Suicide, as a solution of problems occurring in the development of screen drama, is to be discouraged as morally questionable and as bad theatre—unless absolutely necessary for the development of the plot. |
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From March 27, 1951 |
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5. Suicide, as a solution of problems occurring in the development of screen drama, is to be discouraged as morally questionable and as bad theatre—unless absolutely necessary for the development of the plot. It should never be justified or glorified or used to defeat the due process of law. |
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December 20, 1938, to March 27, 1951 |
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10. There must be no scenes, at any time, showing law-enforcement officers dying at the hands of criminals. This includes private detectives and guards for banks, motor trucks, etc. |
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From March 27, 1951 |
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10. There must be no scenes, at any time, showing law-enforcing officers dying at the hands of criminals unless such scenes are absolutely necessary to the development of the plot. This includes private detectives and guards for banks, motor trucks, etc. |
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From December 20, 1938 |
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11. With special reference to the crime of kidnapping—or illegal abduction—such stories are acceptable under the Code only when the kidnapping or abduction is (a) not the main theme of the story; (b) the person kidnapped is not a child; (c) there are no details of the crime of kidnapping; (d) no profit accrues to the abductors or kidnappers; and (e) where the kidnappers are punished. It is understood, and agreed, that the word kidnapping, as used in paragraph 11 of these Regulations, is intended to mean abduction, or illegal detention, in modem times, by criminals for ransom. 12. Pictures dealing with criminal activities, in which minors participate, or to which minors are related, shall not be approved if they incite demoralizing imitation on the part of youth. |
Resolutions for Uniform Interpretation
as amended June 13, 1934
1. When requested by production managers, the Motion Picture Association of America, Inc., shall secure any facts, information or suggestions concerning the probable reception of stories or the manner in which in its opinion they may best be treated.
2. That each production manager shall submit in confidence a copy of each or any script to the Production Code Administration of the Motion Picture Association of America, Inc. (and of the Association of Motion Picture Producers, Inc., California). The Production Code Administration will give the production manager for his guidance such confidential advice and suggestions as experience, research, and information indicate, designating wherein in its judgment the script departs from the provisions of the Code, or wherein from experience or knowledge it is believed that exception will be taken to the story or treatment.
3. Each production manager of a company belonging to the Motion Picture Association of America, Inc., and any producer proposing to distribute and/or distributing his picture through the facilities of any member of the Motion Picture Association of America, Inc., shall submit to such Production Code Administration every picture he produces before the negative goes to the laboratory for printing. Said Production Code Administration, having seen the picture, shall inform the production manager in writing whether in its opinion the picture conforms or does not conform to the Code, stating specifically wherein either by theme, treatment, or incident, the picture violates the provisions of the Code. In such latter event, the picture shall not be released until the changes indicated by the Production Code Administration have been made; provided, however, that the production manager may appeal from such opinion of said Production Code Administration, so indicated in writing, to the Board of Directors of the Motion Picture Association of America, Inc., whose finding shall be final, and such production manager and company shall be governed accordingly.