also served as producer with Jack Cohn. Executive producers include King Baggot, Herbert Brenon, William Robert Daly, and Carl Laemmle. The film was shot and produced by Universal Film Manufacturing Company in Fort Lee, New Jersey, where many early film studios in America's first motion picture industry were based at the beginning of the 20th century. Additional footage was shot on location at Ellis Island and Manhattan. Its subjects were working women who had immigrated to the United States, and it was released at a time when the country was undergoing a "moral panic" over the issue of prostitution. While the film was passed by the National Board of Review as suggesting methods of controlling prostitution or reform of a prostitute, the film's release eventually resulted in the adding of "white slavery" to the list of topics banned under the Hays Code. Terry Ramsaye, an early film historian, wrote in his book A Million and One Nights, that Traffic In Souls was made in under four weeks with a small budget of $5,000. He also claimed that all the money came from George Loane Tucker, Herbert Brenon, William Robert Daly, King Baggot, and Jack Cohn. Furthermore, he also wrote that the film had to be made in secret because Carl Laemmle (the future head of Universal Film) tried to stop the film's production and did not want to release it when completed. While Ramsaye's account of the Silent Era is influential, many of his claims have challenged or rejected by contemporary scholars. Film historian Kevin Brownlow found evidence that the film's actually started with $25,000 provided by theater magnate Lee Shubert, former U.S. Representative Joseph L. Rhinock, and others. And rather than being made in secret, the film actually had a large cast and expensive shooting locations in two states, while Laemmle supported the film because the public's intense interest in white slavery promised substantial profits. The film is notable for its pioneering use of camera movement while shooting scenes. Most films made prior to 1913 relied heavily on scenes shot head-on with a stationary camera. Some filmmakers had been moving tilting or panning their cameras to track a moving object or follow action. For example, Harold M. Shaw panned his camera during one of the final moments of The Land Beyond the Sunset (1912) while Alice Guy-Blaché mounted a camera on the back of a moving truck in Matrimony's