Movie theatres and films were tangible locations and distractions that provided an effective escape from reality. Often, individuals could find themselves taken away from the stresses of their own lives and soar into the exciting experiences of the characters on the screen. Movie theatres offered an atmosphere that was not only full of energy and excitement, but also with only the reflection of the screen, it provided a place where people could feel anonymous. It’s possible that ethnic groups and minorities could explore the livelihood and opportunities that the city has to offer, exempt from the burden of others’ judgments of their economic status and social class.

In the texts, characters are able to blend into their environment by sitting in the dark, viewing the same story and experiencing the same emotions as others who are from a completely different world. The element of films created a secure and comfortable way for those individuals who feel isolated from their city to secretly share an experience with their counterparts, whether lesser or greater. Film serves as not only an escape, but also an opportunity for equality and an educating tool for all social classes.

“Most optimistic reformers saw movies as potentially a great educator for the poor and immigrants” (Butsch 2001). Movies were expected, by the upper classes, to be an educational device. In the hopes that film would effectively teach proper manners and sexual modesty, movies were produced to fulfill that specific purpose.

Film, however, was not created for the basis of teaching ladylike behavior and table manners, but for the obvious exciting and enchanting elements as well. The films including questionable, yet entertaining plots, such as murders and theft, were accepted as a cultural attraction. However, “middle and upper class reformers worried about the lower classes’ absorbing dangerous ideas from movies” (Butsch 2001). There was a lingering fear that violence within the films would only prompt even more violence.

Aside from the inclusive elements which movie theatres provided, moviegoers were able to unleash their sexual tension as well as economic frustration. Women were beginning to unleash their provocative side within the film industry; they became more comfortable showing a little shoulder or flashing some thigh. Younger men, as the novel “Native Son” proves evident, were able to mentally unleash their sexual desires, through the fantasy element of film. These new ideas were evident through the attention that young adults received in the media in respect to film. “The press was full of articles expressing shock at the behavior of affluent teenagers and young adults in the 1920s, labeling them the ‘lost generation’ (Bloom, Fass). Exemplifying the shock were the comments of sociologist E. A. Ross, who saw movies as the culprit, making young people prematurely ‘sex-wise, sex-excited and sex—absorbed.’ He blamed movies for ‘less-concealing fashions, pornographic literature, provocative dances, and briefer bathing suits’ (gtd. In Denzin 104)” (Butsch 2001).

Overall, the film industry provided many with controversy and self-discovery. Among all of these new changes and revelations were sexual revolutions and educational ideals that were often everything but ideal. But the opportunity to escape onto the screen proved the most satisfying reason for traveling to the movie theatre. Within this element was the opportunity to become one unit and escape together.

The introduction of the movies into the lives of those residing in Chicago is prevalent in the books Studs Lonigan and Native Son.