positive light, but "harsh depictions" of Mormons—such as those in A Victim of the Mormons (1911), A Mormon Maid (1917), and Trapped by the Mormons (1922)—overshadowed those church-produced films—such as One Hundred Years of Mormonism (1913) and The Life of Nephi (1915)—in the market. In 1930, however, the adoption of the Motion Picture Production Code (MPPC) required gentler treatment of religious subject matters; it prohibited films that featured "the ridicule of religious denominations, their leaders, or adherents." Thus, the production of anti-Mormon silent films slowed to a halt. One Hundred Years was considered a large-scale production for its time; it was 90 minutes long and involved "a cast of over a thousand, an elaborate reconstruction of sections of [the city of] Nauvoo, and four concurrently running cameras". It told in detail the story of the LDS Church, beginning with the birth of its founder, Joseph Smith, and constituted one hundred scenes. In the realm of Mormon cinema, One Hundred Years of Mormonism "remains the single most important commercial film release of the silent cinema," mainly because of its being directly influenced by people who themselves had been Mormon pioneers. It was shown in theaters worldwide; cinemas in Buenos Aires, Sydney, Peking, Berlin, St. Petersburg, Paris, and London requested reels. Only a few minutes of the film survive today. From 1916 to 1929, brothers Shirley and Chester Clawson made the first documentary-style films for the church. They recorded segments of the church's semiannual General Conference, shots of LDS landmarks (such as Temple Square), and scenes from the everyday lives of general authorities of the church. Most of their work was destroyed in a fire in 1929. Growth and development, 1958–2000 In the 1950s, the Brigham Young University (BYU) Motion Picture Department was created, and in 1958 it grew into the BYU Motion Picture Studio (BYU MPS). This was a major step towards greater autonomy for the Mormon cinema industry; though most of the work produced at the BYU MPS was non-commercial and church-produced, it paved the way for the creation of independent Mormon cinema. Overall, the LDS film industry became much more established from the 1950s-70s under the influence of David O. McKay and Wetzel Whitaker. In 1978, Spencer W. Kimball called for Mormon filmmakers to create "masterpiece[s] which would live forever." The range of years from 1973 to 2000 has been called the "Mass Media Era" in Mormon cinema. Particularly