One choice. Defines the relationship of the film with previous works and notably Broadway shows : is the film the adaptation of a stage musical or is it the musical version of a stage show ? Does it mention Broadway history ?
Specific film content identified as problematic by the PCA during the production process. (Several themes sometimes for one film and describes the film for which there are data on the first verdict by the PCA).
Countries and US States where the film was at least partially censored. This goes from minor cuts to stronger issues. Information available in the PCA file of the film.
Audience recommendation by the Board of National Organizations. Information sometimes gathered in the PCA file.
Audience recommendation published in Harrison's Reports. Information sometimes gathered in the PCA file and available in the journal or the anthology Harrison's Reports and Film Reviews. See https://archive.org.
Film rating by the Catholic Legion of Decency, starting in 1933. Cf. Motion Pictures Classified by National Legion of Decency, Feb 1936-Oct. 1959 (New York: National Legion of Decency, 1959).
Production Code Administration verdict on the first version of the script submitted by the producer. These data come out of the PCA collection at the Margaret Herrick Library (physical and digital). The phrasings are those usually used in the correspondence and are those found in the fist letter from the PCA to the studio. Of course the films first viewed as "unacceptable" were later made acceptable in the production process.
One choice. What is the cast composition as far as race and ethnicity are concerned ?
One choice. Is the number formally closed and satisfying? Are its outlines clearly defined ? This section aims to evidence the viewer’s expectations, recognitions and frustrations.
Multiple choice. Gestural patterns or style nuances regularly used
Multiple choices. Dance figures coming from theatrical or popular traditions and specifying the "dancing types"
Multiple choices. Dancing ensembles (to be distinguished from the music ensemble). Lists of all the ensembles, which can vary if the number consists of several different sections. Includes choruses which are used to enhance the presence of anonymous ensembles.
Multiple choices. These terms refer to a defined grammar of gestures originating from theatre, generic popular traditions or from a choreographic structure readable on the scale of the whole number (rather than according to few isolated gestures), as Hollywood reinterprets them within dancing numbers. In this manner, a song that is accompanied by a few expressive gestures on the part of the performer (Cf. Carmen Miranda at the beginning of Down Argentine Way) will be classified as “song” only. Dancing type descripes choreographic branchs including defined figures, coming from theatrical or popular traditions If the number is to be classified as “Other”, then at least one of the two categories “dance sub-genre” and “dance content” is compulsory
One choice. Is the music diegetic and what is its source ?
Multiple choices. Where the characters really are, where the action takes place. The names of these places are not necessarily explicitly said in the number: it can be said in the plot, before the number. E.g. Ziegfeld Follies takes place in the Ziegfeld Theatre, on Broadway. If the number takes place on a Broadway stage, indicate where the theatre is located (e.g. “Broadway, Ziegfeld Theatre”). A fictional place can be the “real” location of a number. E.g.: The Wizard of Oz For the credits, one should enter the place which can be guessed in a metonymic way, or the place which is to be seen at the very end of the opening of the film (E.g. The Eiffel Tower at the end of the opening of Silk Stockings).
One choice. The two questions are: 1) Are there diegetic spectators in the scene? (“diegetic spectators” = theatrical audience, other characters looking at the performer even when this is not an “onstage” situation) 2) Do the characters address the film audience? (frontality, camera look)?
One choice. Is the number diegetic? If so, what is its narrative context?
Multiple choices. Ethnic impersonation. Includes all racial and national stereotypes (accents, costumes, make-up, etc.).
Multiple choices. General themes of the number as far as non American cultures are concerned. Depends on the music, dancing, costumes, setting.
Multiple choice. Where the characters imagine they are, place where the number projects us: in a dream, vision, stage show, narrative by a character...
Multiple choices. Number of performers as far a music is concerned (singing mostly, but includes instrumental solos for example), musical ensembles (to be distinguished from dance ensembles). Can vary if the number consists of several different sections.
Multiple choices. This section adds information to “completeness” about the outlines of the numbers.
One choice. Does the number start with a new sequence ? Describes the place of the number within the sequence. Consider films’ sequences broadly. For instance, even though a number fades in and out to black, it should not necessarily be considered as a sequence. E.g.: The Band Wagon’s tryouts: the sequence encompasses four numbers.
Does the number end at the end of the sequence ? Consider films’ sequences broadly (see "beginning"). If there is a short silent conclusive moment after the number (e.g. applause), indicate that the number ends when the sequence ends, even if its actual ending is slightly beyond the second time code boundaries.
One choice. Describes the whole number. If there are separate sections, choose the wider label (e.g. "song+dance" even if a section is only sung) A song that is accompanied by a few expressive gestures on the part of the performer (Cf. Carmen Miranda at the beginning of Down Argentine Way) will be classified as “song” only
Multiple choices. Type of intertextual reference that occurs in the number.
Multiple choices. Is the number an original production or does it recycle tunes or a previous film, record or stage number ? (the numbers covering pre-existing tunes with an original choreography appear here as "adapted")
One choice. Describes both the visual and musical structure. By default, “simple” number, formally-closed section of singing and / or dancing. the others terms are designations for more complex and varied numbers.
One choice (check "varies" if multiple tempi)
Multiple choices. Contents and themes of the number. Can describe narrative elements (making-up), or specific topics that can be spectacular archetypes (vaudeville), mostly defined by the music (lullaby), or the dancing (apache). Also major Hollywood tropes (show business montage).