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21 George F. Custen, 'Hollywood and the Research Department,' in Alan Rosenthal, (ed.), Why Docudrama?(Cartondale and Edwardsville, Illinois: South Illinois University Press, 1999), 134 - 146.22 Custen, 'Hollywood and the Research Department,' 137-38. However basic factual errors crept in whichwent against Hollywood's insistence on the validity of their research. For example in Five Guns West (1955)one of the men released from prison to carry out the mission had been put there in 1867, whilst the co-producer of The Horse Soldiers (1959) said that it was 'to be released on the next 4 lh July (1959) during thecentennial.' Citizen News, 26 November, 1958.23 The Motion Picture Production Code was adopted by the Association of Motion Picture Producers inFebruary 1930, and by the Motion Picture Producers and Distributors of America in March 1930. It camefully into effect in 1934 and was amended several times until it was replaced by a rating system in 1968. Thecode established in general and in particular terms what could and what could not be shown, uttered or be thesubject of a picture.24 Louis Gianneth, Understanding Movies, 9th Edition (Englewood Cliffs, New Jersey: Prentice Hall, 2002),362; Phillip L. Gianos, Politics and Politicians in American Film (London: Praeger, 1999), 4-7.25 Letter to Samuel Marx, 18 April, 1935, Gottschalk Papers, 1: 6, quoted in Peter Novick, That NobleDream, The 'Objectivity Question' and the American Historical Profession (Cambridge: CambridgeUniversity Press, 1999, Published 1988), 194.26 Robert Rosenstone, Visions of the Past: The Challenge of Film to our Idea of History (Cambridge,Massachusetts: Harvard University Press, 1995), 77.27 Hayden White, 'Historiography and Historiophoty,' American Historical Review, 93 (1988), 1193-99.28 Toplin, Reel History, 47-50, 59; Rosenstone, Visions of the Past, 59,78.29 Robert A. Rosenstone, Revisioning History: Film and the Reconstruction of a New Past (Princeton:Princeton University Press, 1995).30 Term used on H-FILM in 1998 in a discussion on judging history films.31 Toplin discusses 'good' film history - as in Shadowlands (1993), Glory (1989) and Titanic (1997) - ascompared to 'bad' film history - as in Amistad (1997), Mississippi Burning (1998) and The Hurricane (1999)- in Reel History, 58-89.32 This was a loose term for a group 'united by their "conviction of America's depravity.'" Only some wereconnected to the New Left students' movement. Novick, That Noble Dream, 417-8.33 Rosenstone, Visions of the Past, 23.34 David Harlan, The Degradation of American History (Chicago: University of Chicago Press, 1997), 74.35 Carnes, (ed.), Past Imperfect, 12.36 Pierre Sorlin, The Film in History: Restaging the Past (Oxford: Basil Blackwell, 1980), 4-5.37 The film industry saw the potential in this new market and began to make new films available on video -and now on DVD - but has been recording older films, including the silent movies, onto video and DVDusing new techniques to remaster the existing copies.38 Rosenstone, Visions of the Past, 47.39 By 1977 over one thousand colleges were offering film-related courses. Melvyn Stokes, 'The Rise of FilmHistory' in Melvyn Stokes, (ed.), The State of U.S. History (Oxford: Berg, 2002), 269.40 Survey carried out in May 2004 on the internet.21