IN: Departures (Japanese: okuribito, Hepburn: Okuribito, "one who sends off") is a 2008 Japanese drama film directed by Yojiro Takita and starring Masahiro Motoki, Ryoko Hirosue, and Tsutomu Yamazaki. Loosely based on Coffinman, a memoir by Shinmon Aoki, the film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a nokanshi--a traditional Japanese ritual mortician. He is subjected to prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he earns their respect and learns the importance of interpersonal connections through the beauty and dignity of his work.

Several critics discussed the theme of death found in Departures. Scott highlighted the contrast between the taboo of death and the value of jobs related to it. He also noted the role of the encoffiner in showing "one last act of compassion" by presenting the dead in a way which preserved proud memories of their life. Initially, Daigo and his family are unable to overcome the taboos and their squeamishness when faced with death. Daigo is alienated from his wife and friends owing to traditional values. Ultimately it is through his work with the dead that Daigo finds fulfilment, and, as Peter Howell of the Toronto Star concluded, viewers realize that "death may be the termination of a life, but it's not the end of humanity". Okuyama writes that, in the end, the film (and the book on which it was based) serves as a "quiet yet persistent protest" against the discrimination which people who deal with death continue to face in modern Japan: death is a normal part of life, not something repulsive.  Along with this theme of death, Takita believed Departures was about life, about finding a lost sense of feeling human; Daigo gains a greater perspective on life and comes to know the diversity of people's lives only after encountering them in death. This life includes family bonds: Daigo's coming to terms with his father is a major motif, encoffinment scenes focus on the living family members rather than the dead, and even in the NK Agent office, conversation often revolves around family issues. Mika's pregnancy is the catalyst for her reconciliation with Daigo.  Ebert writes that, as with other Japanese films such as Tokyo Story (Yasujiro Ozu; 1953) and The Funeral (Juzo Itami; 1984), Departures focuses on the effect of death on the survivors; the afterlife is not given much discussion. He considered this indicative of a "deep and unsensational acceptance of death" in Japanese culture, one which is to be met not with extreme sorrow, but with contemplation. Takita stated that he intended to focus on the "dialogue between people who have passed away and the families that survive them". The film touches on the question of the afterlife: the cremator likens death to "a gateway", and Okuyama writes that in this sense the cremator is a gatekeeper and the encoffiners are guides.  Byrnes found that Departures leads one to question the extent of modernity's effect on Japanese culture, noting the undercurrent of "traditional attitudes and values" which permeated the film. Although the encoffining ceremony was traditionally completed by the dead person's family, a decreased interest in it opened a "niche market" for professional encoffiners. Okuyama wrote that, through this film, Takita was filling a "spiritual loss" caused by the departure from tradition in modern Japan. Tadao Sato connected this theme of modernity to that of death, explaining that the film's unusually non-bitter treatment of death demonstrated an evolution in Japanese feelings about life and death. He considered the film's treatment of nokan as an artistic rather than religious ceremony to reflect the agnostic attitudes of modern Japan.

How is the taboo shown in the movie?

OUT: showing "one last act of compassion" by presenting the dead in a way which preserved proud memories of their life.

input: Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons.  No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935).  While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye.  Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success.  The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.

Answer this question "So it censored betty boop?"
output:
date the code went into effect on July 1, 1934,