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| It was directed and produced by two of the Hollywood Ten. |
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| Originally ran nine hours, but was cut down by MGM to just over two hours. |
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| D.W. Griffiths most successful film, but also his most controversial. |
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| It starkly looked at the problems of returning soldiers and their adjustment to life after the war. |
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| The Best Years of Our Lives |
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| Edwin S. Porter's most famous film, which was edited to simulate simultaneous action. |
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| It was an allegory for the Hollywood blacklist. |
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| Serious film about a fallen silent screen actress that has some elements of satire on the state of Hollywood. |
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| It was released just after the United States entered WWII. |
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| Despite the studio's request, Orson Welles refused to return from Rio de Janeiro to re-edit the film. |
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| The Magnificent Ambersons |
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| Film that made comedy out of real life tragedy, such as starvation and greed. |
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Definition
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| Its musical numbers were shot as extensions of everyday family life. |
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| Its narrative is told through a series of flashbacks to resemble human memory. |
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| Considered the first "talkie" because it contained synchronized dialogue. |
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| Its narrative consisted of four interwoven story lines. |
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| David Selznick created interest for this film by leaking stories about its lavish production to newspapers and fan magazines. |
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| It was a mix of a teen biker picture, the French New Wave, and cinema verite. |
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| The first film release by a major studio with the PCA's seal of approval. |
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| Violence is used in the film to say something about America at a particularly violent moment in history. |
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| Despite its content, this film was able to acquire a PCA seal because the MPAA owed director Elia Kazan a favor for cooperating during the HUAC hearings. |
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| United Artists decision to disassociate itself from this film turned out to be a financial mistake. |
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| It set a new template for the horror genre in the 1970's. |
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| Became the first crossover adults-only hit. |
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| This film was released by Warner Bros. with a PCA exemption and labeled "For Mature Audiences." |
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| Who's Afraid of Virginia Woolf? |
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| French directors Francoise Truffaut and Jean-Luc Godard were originally approached to direct this film. |
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| Became the scapegoat for the decline of the auteur films of the 1970's. |
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| The release of this film marked the end of the PCA. |
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| It was banned for being "antisocial" and pulled from the Venice by the State Department because "it was anti-American." |
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| Among the first feature-length films to give prominence to on-screen nudity. |
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| It symbolized the change in the film industry that was occurring in the late 1960's. |
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| This film's ending coincides with the current events of the Watergate scandal. |
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