Title: Film censorship in the United States
Content:  that the movies could help to promote - specifically a system based on Catholic theology. He recruited Father Daniel Lord, a Jesuit priest and instructor at the Catholic St. Louis University, to write such a code and on March 31, 1930 the board of directors of the Motion Picture Producers and Distributors Association adopted it formally. This original version especially was once popularly known as the Hays Code, but it and its later revisions are now commonly called the Production Code. However, Depression economics and changing social mores resulted in the studios producing racier fare that the Code, lacking an aggressive enforcement body, was unable 
Title: National Legion of Decency
Content:  Martin J. Quigley was publisher of Exhibitors Herald-World (a trade magazine for independent exhibitors). Daniel A. Lord was a Jesuit priest who had served as one of the technical consultants on Cecil B. DeMille's 1927 The King of Kings. Quigley drafted Lord to write a code for motion pictures. With the blessing of Cardinal George W. Mundelein of Chicago, Father Lord authored the code, which later became known as "The Production Code", "The Code", and "The Hays Code". It was presented to Will Hays in 1930 and privately circulated by the MPPDA. The studio heads were less than enthusiastic but after some revisions, agreed to make The Code the rule of the industry, 
Title: Pre-Code Hollywood
Content:  In 1929, Roman Catholic layman Martin Quigley, editor of the prominent trade paper Motion Picture Herald, and Father Daniel A. Lord, a Jesuit priest, created a code of standards (of which Hays strongly approved) and submitted it to the studios. Lord's concerns centered on the effects sound film had on children, whom he considered especially susceptible to the medium's allure. Several studio heads, including Irving Thalberg of Metro-Goldwyn-Mayer (MGM), met with Lord and Quigley in February 1930. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention. It was the responsibility of the Studio Relations Committee, headed by Colonel Jason S. Joy, 
Title: 1930s in film
Content:  Charlie Chaplin and Greta Garbo. The Hays Code and the end of the Pre-Code era In response to a number of scandals in the 1920s, the studios adopted a series of guidelines known as the "Hays Code", after its creator Will H. Hays. Hays was the head of the Motion Pictures Producers and Distributors Association, which would later be renamed as the Motion Picture Association of America in 1945. Starting in 1927, Hays began compiling a list of topics which he thought Hollywood should avoid. The code was revealed and implemented in 1930, but it was not until 1934, with the establishment of the Production Code Administration, that it was significantly enforced. 
Title: Code of the Sea
Content:  Code of the Sea is a 1924 silent film produced by Famous Players-Lasky and distributed by Paramount Pictures. It was directed by Victor Fleming and starred Rod La Rocque and Jacqueline Logan. This film survives in the Library of Congress collection as well as George Eastman House and UCLA Film and Television Archive.
Title: Martin Quigley (publisher)
Content:  Quigley was an active proponent and co-author of the Motion Picture Production Code, which governed the content of Hollywood movies from the 1930s to the 1960s. A devout Catholic, he began lobbying in the 1920s for a more extensive code that not only listed material that was inappropriate for movies, but also contained a moral system that the movies could help to promote – specifically a system based on Catholic theology. He recruited Father Daniel Lord, a Jesuit priest and instructor at the Catholic Saint Louis University, to write such a code and on March 31, 1930 the board of directors of the Motion Picture Producers and Distributors Association adopted it formally. This original version especially was once popularly known as the Hays Code, but it and its later revisions are now commonly called the Production Code.
Title: Motion Picture Production Code
Content:  In 1929, a Catholic layman, Martin Quigley (editor of the prominent trade paper Motion Picture Herald), and the Jesuit priest Father Daniel A. Lord created a code of standards and submitted it to the studios. Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure. In February 1930, several studio heads—including Irving Thalberg of Metro-Goldwyn-Mayer (MGM)—met with Lord and Quigley. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention. It was the responsibility of the SRC (headed 
Title: Pre-Code Hollywood
Content:  The Production code continued to be enforced, but during the lead up to World War II, the Hollywood studios began to worry that adhering to the Code would reduce their overseas profits from Europe. At the same time, Hays warned about films being used for propaganda purposes. Hays stepped down in 1945, after 24 years as Hollywood's chief censor, but remained an advisor. His successor, Eric Johnston, rebranded the association as the Motion Picture Association of America (MPAA). In 1956, he oversaw the first major revision of the Production Code since it was created in 1930. This revision allowed the treatment of some subjects which had previously been forbidden, including abortion and the use of narcotics, so long as they were "within the limits of good taste". At the same time, the 
Title: Motion Picture Production Code
Content:  government; the Hollywood studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation. Father Daniel A. Lord, a Jesuit, wrote: "Silent smut had been bad. Vocal smut cried to the censors for vengeance." Thomas Doherty, Professor of American studies at Brandeis University, has defined the code as "... no mere list of Thou-Shalt-Nots, but a homily that sought to yoke Catholic doctrine to Hollywood formula. The guilty are punished, the virtuous rewarded, the authority of church and state is legitimate, and the bonds of matrimony are sacred." What resulted has been 
Title: Pre-Code Hollywood
Content:  same. Therefore, events such as the Boston Tea Party could not be portrayed. And if clergy were always to be presented positively, then hypocrisy could not be examined either. The Outlook agreed, and, unlike Variety, predicted from the beginning the Code would be difficult to enforce.  Additionally, the Great Depression of the 1930s motivated studios to produce films with racy and violent content, which boosted ticket sales. Soon, the flouting of the code became an open secret. In 1931, The Hollywood Reporter mocked the code, and Variety followed suit in 1933. In the same year as the Variety article, a noted screenwriter stated that "the Hays moral code is not even a joke any more; it's just a memory."

Question: Who was the director of Code of Honor?
Answer: Russ Mayberry.
Les Landau.