The BBFC History: 1990s

Since the regulation of video in 1984, there was since public concern about the influence of videos in the 90's
Key Film

The Jamie Bulger case. The trial judge linked this murder of a two year-old by two ten year-old boys to the viewing of violent videos, with the media singling out the horror video Child's Play 3 (1991).

Though subsequent enquiries refuted this connection, public opinion rallied behind calls for stricter regulation. Parliament supported an amendment to the Video Recordings Act, contained in the Criminal Justice and Public Order Act 1994, which requires the Board to consider specific issues, and the potential for harm, when making video classification decisions.

The Board has always been stricter on video than on film. This is partly because younger people are more likely to gain access to videos with restrictive categories than such films at the cinema (where admissions can be screened).  But it is also because, on video, scenes can be taken out of context, and particular moments can be replayed.

The BBFC was being asked to look at a number of extremely violent and drug-filled films, which further fuelled the debate about media effects 

In 1997 the BBFC's President, Lord Harewood, stepped down after 12 years in the job.  His replacement, Andreas Whittam Smith, announced his intention to steer the BBFC towards a greater 'openness and accountability'.  This included the publication of the BBFC's first set of classification guidelines in 1998, following a series of public 'roadshows' in which public views were canvassed and the launching of a BBFC website.

Digital Media 

The 1990s also saw rapid developments in the world of computer games, which seemed to become more realistic and sophisticated with each passing year.  Although the majority of video games were automatically exempt from classification, those that featured realistic violence against humans or animals, or human sexual activity, did come under the scope of the Video Recordings Act.  From 1994 the BBFC started to receive some of the stronger video games for formal classification, which necessitated a different way of examining (because it was impossible to see everything that might happen in a game).  1999 also saw the removal of the BBFC's controversial policy on oriental weaponry

The BBFC History: 1980s

The decade started in dramatic fashion for the BBFC with the submission of Tinto Brass' Caligula.  The film has respectable antecedents, being based on The Lives of the Twelve  Caesars by Suetonius, and a screenplay by Gore Vidal.  Original producer Franco Rossellini approached Penthouse mogul Bob Guccione for financial support.  Tinto Brass was hired as director.  The stars were familiar and respected names - Sir John Guilgud, Peter O'Toole, Helen Mirren.  Problems occured after shooting, with Brass being fired and Vidal protesting that his screen play bore little relationship to what was on screen.  He dissociated himself from the film and attempted to have his name removed from the credits.  Guccione then added some material of his own, some of it hard-core pornography.

The film achieved notoreity in the USA and arrived in the UK with the reputation of being 'the most controversial film of the eighties'. It was seized by Customs and Excise officials when it came into the UK and then seen by the BBFC together with lawyers and Customs officials so that any footage that was in danger of breaching UK laws could be removed.  At this stage all sexually explicit material was removed in order to conform with Customs regulations (specifically the Customs Act 1876), and further cuts made to material which was potentially actionable under the Obscene Publications Act - the later including sexually violent material.

The cut film was then viewed again by the Board, who had already indicated that further cuts to sex and violence would be necessary in order to secure a nation-wide release under BBFC 'X' category standards.  Some innocuous material was added to restore some dialogue which had been lost when the cuts were made.

After six months the film was finally released in the UK with an 'X' certificate, and while the majority of local authorities were content with the certificate, it was banned in some areas. Inevitably, there was some orchestrated protest from concerned citizens who had not seen the film, but because the Board had taken every precaution to ensure that the classification was within the law, the fuss died down. The video was classified '18' when it was submitted in 1990 in a greatly reduced version, having been cut by a further 50 minutes by its distributors in addition to the cuts made for cinema release. In 2008, three versions of the work were submitted for classification, including the original version. All were passed '18' uncut after lengthy consideration.

Throughout the decade there were a number of films involving gangland characters.  1981 saw the release of Tom Clegg's McVicar, a criminal biopic passed 'X'; and John Mackenzie's The Long Good Friday, the story of a criminal determined to preserve his manor against incursions by the IRA, also passed 'X'.  This has remained '18' on video since 1987, with the most recent classification in 2008. Neil Jordan's Mona Lisa, was passed '18' in 1986, with Bob Hoskins playing the role of chauffeur to a prostitute.  David Green's Buster, passed '15' in 1988, told the story of Great Train Robber 'Buster' Edwards on the run from the law.  The decade concluded with Peter Medak's tale of infamous twin gangland figures, The Krays, passed '18', after cuts to an horrific mutilation scene.

 Another film based on real-life was Michael Caton-Jones' Scandal, an account of the Profumo affair, a political scandal of the 1960s.  Although for some the events were considered too recent for comfort, the problem for the BBFC was of a different kind.  An orgy scene revealed the presence of an erect penis in the backgound of the shot.  The image was obscured by soft-focus lighting and the film released with an '18' certificate.

The first of the Rambo series, First Blood (Ted Kotcheff), was passed '15' uncut in 1982, and the second, George Pan Cosmatos' Rambo - First Blood Part II was passed '15' uncut in 1985.  However, Rambo III was cut in 1988 to obtain an '18' certificate.  In addition to a horse-fall removed under the terms of the Cinematograph Films (Animals) Act 1937, the violence was reduced by the excision of spatter shots, and cuts were made to counteract the glamorisation of weapons which constituted a significant classification issue. 

Paul Verhoeven's film Robocop was passed '18' without cuts in 1987, and the same on video a year later.  The 2001 video version was submitted with additional material that had been removed by the MPAA before the film was submitted in the UK. 

However, the Conan films did not have the same easy passage.  John Milius' Conan The Barbarian required cuts to a sex scene between Conan and a serpent-woman, and to remove horse-falls, for an 'AA' category in 1982.  The second Conan film, Richard Fleischer's Conan The Destroyer also required horse-fall and animal cruelty cuts in 1984.

The decade also saw the establishment of the 'stalk and slash' genre with the Friday 13th series of films, with parts I and II passed 'X' uncut on film in 1980 and 1981 respectively. Part III was also passed 'X' uncut on film in 1982, but with two cuts to violence/horror to obtain an '18' on video in 1987.

1981 saw the second in the Halloween series passed 'X' uncut on film, but a scene where a woman was scalded to death in a jacuzzi was reduced for an '18' video release in 1990.  The cuts have since been restored. 

1982 - Review of the category system

In 1982 'A' was changed to 'PG', 'AA' was changed to '15' and 'X' became '18'. A new category 'R18' was introduced which permitted more explicit sex films to be shown in members-only  clubs.  Previously, such clubs had shown material unclassified by the BBFC, but a change in the law closed this loophole.  Since the mid 1980s most 'R18' material is released on video, only available from a limited number of sex shops which must be specially licensed by local authorities.  

Further changes to the category system in the 80s

In 1985, at the request of the industry, the 'Uc' was introduced for video only, to identify works specifically suitable for very young children to watch alone.

In 1989 the BBFC introduced the '12' certificate on film, to bridge the huge gap between 'PG' and '15'. This was extended to video in 1994. The first film to be given a '12' rating was Batman.

The BBFC History: 1970s

1970 - CHANGES IN THE CATEGORY SYSTEM  

• During the sixties it was recognised that teenagers had specific concerns of their own which ought to be reflected in the category system.
• The introduction of the 'AA' was finally approved by local authorities and the industry in 1970.
• The principal changes to the category system were the raising of the minimum age for 'X' certificate films from 16 to 18. 
• The old 'A' (advisory) category was split to create a new advisory 'A' which permitted the admission of children of five years or over whether accompanied or not, but which warned parents that a film in this category would contain some material that parents might prefer their children under fourteen not to see, and a new 'AA' certificate which allowed the admission of those over 14, but not under 14, whether accompanied or not.
• The idea was that this would protect adolescents from material of a specifically adult nature and would permit more adult films to be passed uncut for an older, more mature audience.  It recognised the earlier maturity of many teenagers by giving them access to certain films at the age of 14, without being accompanied by an adult.  It also indicated to parents the difference between films wholly suitable for children of all ages, which would continue to be classified 'U', and those which, while not generally unsuitable, might contain some material which some parents might prefer their children not to see.  

 70s SEXUAL VIOLENCE AND OTHER CONTROVERSIES

A new ratings system in the United States included an uncensored 'X' category, left to the sole control of the criminal law. John Trevelyan, the Secretary at the time, was concerned by this: “We are afraid that this will have the effect of giving certain film-makers the opportunity of going much further than they have done in scenes of sex and sexual perversion, since with the protection of an 'X' category, they can shed personal responsibility”. The seventies did indeed see the release of a number of provocative films, in particular those that linked sex and violence, for example Straw Dogs (1971), and A Clockwork Orange (1971), both of which contained controversial rape scenes. There were a number of other controversies during the seventies, for example Ken Russell’s The Devils(1971), which was accused of blasphemy, Last Tango in Paris (1972), which was accused of being 'obscene' and The Exorcist (1973), which was accused of having a psychologically damaging effect on young people. In the case of each of these films, the decision of the BBFC to award an 'X' was overturned by a number of local authorities. Pressure groups such as The Festival of Light, and Lord Longford’s Committee on Pornography also placed immense pressure on the BBFC, in a backlash against what was perceived as liberalisation having gone too far. The Festival of Light took out an unsuccessful private prosecution against Last Tango in Paris and mounted a campaign against alleged links between teenage suicide and screenings of The Exorcist. Meanwhile anti-censorship campaigners also continued to criticise the Board, defending cause celebre films such as Andy Warhol’s Trash (1970), which the BBFC had passed only after several cuts.

Stephen Murphy, who became Secretary of the Board in July 1971, resigned in 1975 and was succeeded by James Ferman.  One of the first films Ferman looked at was The Texas Chain Saw Massacre, which his predecessor had already refused to classify shortly before his departure.  Ferman agreed with Murphy that the violence and terrorisation in the film (directed largely towards a woman over a sustained period) was unacceptable.  In an early interview, Ferman remarked that it wasn't the sex that worried him but the violence and, in particular sexual violence.  During his time at the BBFC, Ferman permitted increasingly explicit sexual material whilst clamping down on sadistic violence (especially when perpetrated by heros) and sexual violence (particularly where it seemed that the portrayal of rapes and assaults were intended as a 'turn on' to viewers).  

The BBFC History: 1960s

Challenges to the Obscene Publications Act (1959), in cases such as the successful defence in 1960 of D. H. Lawrence’s novel Lady Chatterley’s Lover, suggested a strong shift in public opinion, when a jury acquitted this work. John Trevelyan, as Secretary to the Board, responded to the new spirit of liberalism by stating: "The BBFC Censors cannot assume responsibility for the guardianship of public morality. It cannot refuse for exhibition to adults films that show behaviour that contravenes the accepted moral code, and it does not demand that ‘the wicked’ should also be punished. It cannot legitimately refuse to pass films which criticise ‘the Establishment’ and films which express minority opinions".

However, the decade began with a challenge in the form of Michael Powell's Peeping Tom, which had been seen by the Board at the script stage and provoked a remark from Trevelyan about its 'morbid concentration on fear'. Various cuts had been suggested at script stage, and the film was passed 'X' in 1960 with cuts. Critics greeted the film with a torrent of abuse and it failed to please the public, damaging Powell's reputation. The video remained an '18' work until 2007 when it was reclassified and passed '15'.

New realism took hold in British films, with the submission of a number of 'kitchen sink' dramas from the British New Wave directors - Karel Reisz's Saturday Night And Sunday Morning in 1960, Tony Richardson's The Loneliness of the Long Distance Runner in 1962, both passed 'X', the latter with cuts. Saturday Night... had been submitted to the Board at script stage. Concerns were expressed about the language, violence and the theme of abortion, and the script was modified to meet these concerns This might have been the 'swinging Sixties', but in spite of the film's BBFC uncut release at 'X', Warwickshire Council deemed it too strong and demanded that cuts be made for a local certificate. The film was passed 'PG' on video in 1990.

By 1966, Lewis Gilbert's Alfie was passed uncut, with the remark  that it contained a 'basically moral theme' in spite of some misgivings at the Board about the abortion theme. Attitiudes to sexuality were on the change in the wake of the 1957 Wolfenden Report which recommended a relaxation of the laws concerning homosexuality, although no new legislation was to appear for another ten years. Trevelyan claimed that the BBFC had never banned the subject of homosexuality from the screen but 'the subject was one that would probably not be acceptable to the British audience'. Basil Dearden's Victim contributed to the debate in 1961, containing the line 'they call the law against homosexuality the blackmailer's charter'. The film was passed 'X' with a brief cut. It was then passed '15' on video in 1986 and reclassified to '12' in 2003. When the film version was submitted for a modern classification in 2005, it was passed 'PG'.

The BBFC History: 1950s

The Fifties saw the end of rationing and a gradual increase in prosperity for those who, as Prime Minister MacMillan stated, “have never had it so good”. One development that stemmed from this apparent affluence was the emergence of 'youth' as a group with a defined identity and as a target for consumer goods, as young people with disposable income became an attractive proposition for those selling records, clothes and all the trappings of the teenager.

Controversial subjects on film were accommodated in the UK under the new 'X' category, introduced in 1951and incorporating the former advisory 'H' category given to horror films.

As the growth of television ownership eroded the adult/family cinema audience, films like Rock Around The Clock(1956) drew teenage audiences. Cut for U, this film caused rioting in cinemas and fuelled increasing concern about teenage criminality, although there was in fact no evidence of a teenage crime wave as suggested by the popular Press.

A new 'X' category was introduced which excluded children under 16

Concerns about what were then known as juvenile delinquents delayed the classification of Laslo Benedek's 1954 film, The Wild One, for thirteen years because the Board described the contents as 'a spectacle of unbridled hooliganism'. Marlon Brando stars as the leader of a biker gang who rides into a small American town and creates mayhem, fighting with a rival gang leader and defying adult authority. Repeated attempts were made to secure a classification, and eventually some local authorities overturned the Board's rejection, allowing local releases. The riots in English seaside towns involving Mods and Rockers, (Margate and Clacton in 1964), were cited as providing justification for the Board's continuing objections to the film. The Board maintained its stance until 1967, when the dangers associated with the film's release were judged to be over.

Nicholas Ray's 1955 Rebel Without A Cause also ran into trouble because of its depiction of what the Board considered to be anti-social behaviour and teen violence, but substantial cuts were agreed for the film's release at 'X'.

At the end of the decade came Beat Girl, a sort of UK equivalent of Rebel Without A Cause, starring Adam Faith. The Board was not impressed with the script for this film about a teenage girl who seeks to rebel against her father by hanging around with a bad crowd in Soho and considers becoming a stripper. The script was judged to be 'the product of squalid and illiterate minds' and several amendments were made before it was cut for 'X'. It is now classified '12' on video, having lost its appeal to shock.

The BBFC History: 1912-1949

In the past, the BBFC did not have any written rules or code of practice. Policy evolved along practical lines, whilst seeking to reflect public attitudes. Since 2000, the BBFC has operated under a series of published Guidelines, these Guidelines are flexible and stress the importance of taking into consideration the context of each individual work. They are reviewed on a regular basis, which entails a period of extensive public consultation, the most recent of which took place in 2008.

Standards have evolved throughout the Board’s ninety seven year history, and current concerns and practices can be found in the sections on the classification process and classification issues.This section will focus on key moments in the evolution of current standards and the development of the category system.

 

1916 - T. P. O’CONNOR

When T. P. O’Connor was appointed President of the BBFC, one of his first tasks was to give evidence to the Cinema Commission of Inquiry, set up by the National Council of Public Morals in 1916. He summarised the Board's Policy by listing forty-three grounds for deletion laid down for the guidance of examiners. This list was drawn from the Board’s annual reports for 1913-1915. The list shows the strictness felt necessary if the Board was to earn the trust of the public and relevant bodies.

 

1. Indecorous, ambiguous and irreverent titles and subtitles
2. Cruelty to animals
3. The irreverent treatment of sacred subjects
4. Drunken scenes carried to excess
5. Vulgar accessories in the staging
6. The modus operandi of criminals
7. Cruelty to young infants and excessive cruelty and torture to adults, especially women
8. Unnecessary exhibition of under-clothing
9. The exhibition of profuse bleeding
10. Nude figures
11. Offensive vulgarity, and impropriety in conduct and dress
12. Indecorous dancing
13. Excessively passionate love scenes
14. Bathing scenes passing the limits of propriety
15. References to controversial politics
16. Relations of capital and labour
17. Scenes tending to disparage public characters and institutions
18. Realistic horrors of warfare
19. Scenes and incidents calculated to afford information to the enemy
20. Incidents having a tendency to disparage our Allies
21. Scenes holding up the King’s uniform to contempt or ridicule
22. Subjects dealing with India, in which British Officers are seen in an odious light, and otherwise attempting to suggest the disloyalty of British Officers, Native States or bringing into disrepute British prestige in the Empire
23. The exploitation of tragic incidents of the war
24. Gruesome murders and strangulation scenes
25. Executions
26. The effects of vitriol throwing
27. The drug habit. e.g. opium, morphia, cocaine, etc
28. Subjects dealing with White Slave traffic
29. Subjects dealing with premeditated seduction of girls
30. 'First Night' scenes
31. Scenes suggestive of immorality
32. Indelicate sexual situations
33. Situations accentuating delicate marital relations
34. Men and women in bed together
35. Illicit relationships
36. Prostitution and procuration
37. Incidents indicating the actual perpetration of criminal assaults on women
38. Scenes depicting the effect of venereal disease, inherited or acquired
39. Incidents suggestive of incestuous relations
40. Themes and references relative to 'race suicide'
41. Confinements
42. Scenes laid in disorderly houses
43. Materialization of the conventional figure of Christ

THE YEARS BETWEEN THE WARS

During this period the kind of material that caused concern included horror and gangster films, as well as those that dealt with aspects of sexuality. Some councils were beginning to bar children from films classified 'A', even when they had been cut by the BBFC to achieve a certificate. For example, the London County Council (LCC) and Manchester City Council (MCC) banned children from Frankenstein (1931), although a sequence in which the monster drowns a small girl had already been cut. In response to such material, the advisory category 'H' (for horror) was agreed in 1932, to indicate the potential unsuitability for children of the horror theme.

1948 - ARTHUR WATKINS

Arthur Watkins was appointed Secretary to the Board in 1948, under the Presidency of Sir Sidney Harris. Both men had come from the Home Office, and Watkins was also a successful playwright. Many film-makers sought the Board's advice on scripts before films went into production. Watkins and Harris formulated new terms of reference for the Board based on three principles:

• was the story, incident or dialogue likely to impair the moral standards of the public by extenuating vice or crime or depreciating moral standards?

• Was it likely to give offence to reasonably minded cinema audiences?

• What effect would it have on children?

The effect on children was of major importance since, apart from the advisory 'H' category, from which some councils already chose to bar children, there was no category that excluded children. An 'adults only' category was increasingly seen as desirable, not only to protect children, but as an extension of the freedom of film-makers to treat adult subjects in an adult fashion.

BBFC Seminar

On Wednesday 9th March in the afternoon, one of the commissioners from the BBFC came in to school to give us a talk about the BBFC, what they do and the process they go through to classify films.  Although we knew a lot about the BBFC guidelines already, it was very interesting to hear from someone who works there about the different guidelines at each age category.  It was also very interesting to hear about a typical day at the BBFC office, they have to watch 5 and a half hours of works ranging from kids cartoons to porn.  It was fun looking through all the different case studies and debating what we would rate the film and then hearing from her what the film was actually classified as and why.  I also learnt that in order to classify games they have to sit there and play them, 8 of the 15 commissioners play the games but they are given ‘cheats’ and ‘god-modes’ to help get them through the game quickly, although from now on the BBFC won’t classify games which was disappointing for them.  It was interesting when she talked about how the BBFC had classified some films wrong, eg. ‘Juno’ they classified to low at a 15 and ‘Dark Knight’ they classified too low at ‘12A’ and they only realised by the amount of complaints.  We learnt that the chief commissioner can overrule all the other commissioners and change the rating if they feel its wrong.  Overall, I learnt a lot about the BBFC from the talk and I’ll find the information very useful.

PCC Seminar

On Wednesday 9th March we went up to the PCC, Press Complaints Commission, in London and were given a talk in their board room by one of the commissioners about what the PCC is all about and what they do there.  I found it really interesting working through the case studies and debating weather we thought the articles had breached the code enough to be followed through or not. It was surprising to me how much they have to take into consideration when they’re deciding whether to follow through a complaint or not, they have to look through all the different clauses and apply them differently to all the different complaints.  It was very impressive how quickly they deal with the complaints and they seem to treat the people how complain very well.  I also learnt how important context was in each case and how the article was written eg. jokingly or maliciously.  One major factor I realised was if public right to know overruled privacy then the complaint would not be followed through.  I think its good how the commissions are not related to the media at all so they are not biased in any way to cases.  Overall I found the talk very interesting and learnt a lot about the PCC.

The PCC (Press Complaints Comission)

What does the PCC do?

• The Press Complaints Commission (PCC) is an independent self-regulatory body which deals with complaints about the editorial content of newspapers and magazines and their websites

• They use the Code of Pracice (the 16 clauses) as their rules which editors and journalists must follow

• The PCC will investigate when they receive a complaint by someone directly affected

• The PCC will attempt to help the editor and complainant to agree on a way to resolve the issue, such as a published apology or clarification

How does the system work?

• The system is not legal and not run by the government

• It is based on a voluntary agreement by the newspaper and magazine industry to allow itself to be regulated by and independant body

• Code of Practice is drawn up by a comitee of editiors- the commission itself has a clear majority of public members

• Some of the comissioners have no connection to the media at all (no newspapers or magazines)

• None of the PCCs staff are connected to the industry

What does the code of practice cover?

 • The code covers 4 main areas: accurary, privacy, news gathering and protecting the vulnerable

• An editor is expected to take responsibility for all the stories and photographs that appear in their publication and to ensure that they comply with the code

• The code does not cover issues of taste and decency

• The PCC recognises that in a democratic society newspapers have the freedom and right to publish whatever they want

• Advertising such as billboards which are much more publically on display, taste and decency apply more

How is the PCC funded?

• Funded through the Press Standards Board of Finance which is responsible for collecting money from newspapers and magazines in the UK

• The press has agreed that each newspaper or magazine should contribute an amount in proportion to the number of people who buy it and read it so big newspapers eg. 'The Sun' will pay more than small local newspapers eg. 'Enfield Independent'

• PCC does not receive any money from government or the public

History of the PCC?

• The PCC was set up in 1991

• It replaced the Press Council which had been set up in 1953

• In the 1980's a small number of publications failed to observe the basic ethics of journalism and this led many MPs to lose confidence in the Press Council

• The PCC shows that non-statutory regulation works just as well as government controlled regulation 

Who complains to the PCC and what do they complain about?

• The PCC will acept complaints from anyone who thinks an article involving them breaches the code in some way

• Most complaints ordinary people, only 1.5% of complaints were celebrities and the other 98.5% were ordinary people

• The code provides special attention to particularly vunerable groups such as children, hospital patients and minority groups

Why is the PCC important?

• In a democratic society, we should have the right to free press, so the press should not subject to control by the law or govenrment

• The PCC is independant and voluntary organisation

• PCC commited to protecting the public by ensuring when rules are broken they are put right

• The PCC is fast and free

PCC Code of Practice

The 16 Clauses..
1. Accuracy
2. Oppurtunity to reply
3. Privacy *
4. Harrassment *
5. Intrusion into grief and shock
6. Children *
7. Children in sex cases *
8. Hospitals *
9. Reporting of crime *
10. Clandestine devices and subterfuge *
11. Victims of sexual assult
12. Discrimination
13. Financial journalism
14. Confidential sources
15. Witness payments in criminal trials
16. Payment to criminals *

* - There may be exception to the clauses marked * where they can be demonstrated to be in the public interest.

The UK's current film classification system

What are the pros and cons of the UK's current system of film classification?

Pros..
• The system is simple and easy to understand, with clear set guidelines to follow

• The BBFC always update their guidelines to keep up to date with society and culture, so it takes into account very recent things eg. if laws have changed

• Local councils can overrule the BBFC if they feel the classification is too high/low

• The BBFC make sure children are protected and won’t see anything unsuitable

• There is detailed information about children films for parents on their website which will be very useful in helping them to decide whether to let their child see a certain film

Cons..

• The BBFC guidelines are completely decided by age, this puts everyone in set categories when some people may be more mature and grown up for their age, everyone likes different things and children are all scared of different things

• The ratings are not really enforced at the cinemas, it is very easy for younger children to get into 15s/18s and could just watch it online or on DVD anyway

• The BBFC are unable to prove whether something could be a potential harm

• Parents aren’t aware of the information available on the BBFC website  

The differences between ratings

U - PG

• The themes at PG can be more mature than at U, but the nature of how they are presented is still very mild

• Sex and Relationships can be more acknowledged and advanced from U to a PG, however it still has to be discreet and infrequent

• Mild drug use/reference is more acceptable at a PG but still must carry an anti-drug message and can’t condone drug use in any way

• Discriminatory language can be used more in PG compared to U however it must have an educational or historical context

• Violence can be stronger at a PG but can’t be in detail and must be justified by its context

• Horror can be more frightening at a PG but cannot be prolonged and fantasy is treated less strictly



PG - 12A

• Discriminatory language/behaviour can progress from a PG to 12A however still must not be endorsed by the work as a whole

• Drug misuse can be shown at 12A, which it can’t at a PG, but still must be infrequent and not glamorised in any way

• Horror can be increased from a PG to 12A, moderate physical and psychological threat may be permitted but cannot be sustained

• Imitable behaviour can be shown in a 12A but it cannot glamorise easily accessible weapons

• Moderate language is allowed at 12A compared to mild infrequent language in a PG.
• Nudity in a sexual context is allowed in a 12A but must be brief and discreet

• Sexual activity can progress in a 12A from a PG as it can be portrayed but can’t be frequent

• Violence is stronger at 12A but can’t dwell on detail

12A - 15

• Drug taking and references may be shown in a 15 but the film must not promote drugs overall

• Horror can be stronger and more menacing at 15 compared to a 12A

• Glamorisation of easily accessible weapons is not allowed

• Language can be more frequent at a 15 and stronger language may be acceptable depending on the context

• Nudity is more acceptable at 15 compared to a 12A and can be shown in a sexual context but not in strong detail

• Strong verbal sexual references are allowed at 15s

• Violence can be stronger at a 15 but can’t dwell on too much pain

15 - 18

• At 18, the viewer is considered an adult so is completely free to choose their own entertainment

• Works cannot breach any laws

• Risk of harm to society is not allowed

• Illegal drug use is not allowed

• Sexualised violence is allowed in a 18 but cannot cause potential harm to anyone or society

• Sex and Relationships is much more acceptable at a 18 then a 15

• Clear images of real sex is still not permitted

18 - R18

• The same as 18, works cannot breach any laws at R18

• Sexually abusive behaviour is not acceptable

• At R18, real sex is allowed unlike at 18

• R18 is more focused on the acts of sex and harm

• R18 are not allowed to be shown at normal cinemas and only in specially licensed sex cinemas and only sold in specially licensed sex shops

Film Classification: R18

'R18' films are only to be shown in specially licensed cinemas, or supplied only in licensed sex shopts and to adults of not less than 18 years.  The 'R18' category is a special and legally restricted classification primarily for explicit works of condeting sex or strong fetish material involving adults. 

The following content is not acceptable...

• Any material which is in breach of the criminal law (material judged obscene under the act)

• Material including dialogue likely to encourage interest in sexually abusive activity (e.g. paedophilia/ rape) which may involve adults role- playing as non adults

• The potrayal of any sexual activity which involves lack of consent/ any form of physical restraint which they cannot indicate withdrawal of consent

• The infliction of pain or acts which may cause lasting physical harm

• Penetration by any object associated with violence or likely to cause physical harm

• Any sexual threats, humiliation or abuse which does not form part of a clearly consenting role-playing games

• These guidelines will be applied to the same standard regardless of sexual orientation

Film Classification: 18

A '18' is suitable for 18 years and over.  No one younger than 18 may see a '18' rated film at the cinema or buy a '18' rated dvd/video/video game.

In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

• Where the material is in breach of the criminal law, or has been created through the commission of a criminal offence.

•  Where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals.This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault.

• Where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.

Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.

Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.



Film Classification: 15

A '15' is suitable for 15 years and over.  No one younger than 15 may see a '15' rated film at the cinema or buy a '15' rated dvd/video/video game.

Discrimination

The work as a whole must not endorse discriminatory language or behaviour.

Drugs

Drug taking may be shown bu the film as a whole must not promote or encourage drug misuse.  The misuse of easily accessible and highly dangerous substances (eg. aerosols or solvents) is unlikely to be acceptable.

Horror

Strong threat and menace are permitted unless sadistic or sexualised.

Imitable behaviour

Dangerous behaviour (eg. hanging, suicide and self-harming) should not dwell on detail which could be copied.  Easily accessible weapons should not be glamorised.

Language

There may be frequent use of strong language (eg. 'fuck').  The strongest terms (eg. 'cunt') may be acceptable if justified by the context.  Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity

Nudity may be allowed in a sexual context but without strong detail.  There are no constraints on nudity in a non-sexual or educational context.

Sex

Sexual activity may be portrayed without strong detail.  There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context.  Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

Theme

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence

Violence may be strong but should not dwell on the infliction of pain or injury.  The strongest gory images are unlikely to be acceptable.  Strong sadistic or sexualised violence is also unlikely to be acceptable.  There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

Film Classification: 12A

12A/12 is suitable for 12 years and over.  Exactly the same criteria is used to classify works at '12A' and '12'.  The '12A' category exists only in cinema, this means no one younger than 12 may see a '12A' film unless accompanied by an adult and films classified '12A' are not recommened for a child below 12.  An adult may take a younger child if they think the film is suitable for their child.  The '12' category only exists for dvd/video works so no one younger than 12 can buy a '12' rated dvd/video.

Discrimination

Discriminatory language or behaviour must not be endorsed by the work as a whole.  Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.

Drugs

Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.

Horror

Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.

Imitable behaviour

Dangerous behaviour (eg. hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free.  Easily accessible weapons should not be glamorised.

Language

Moderate language is allowed.  The use of strong language (eg. 'fuck') must be infrequent.

Nudity

Nudity is allowed, but in a sexual context must be brief and discreet.

Sex

Sexual activity may be briefly and discreetly portrayed.  Sex references should not go beyond what is suitable for young teenagers.  Frequent crude references are unlikely to be acceptable.

Theme

Mature themes are acceptable, but their treatment must be suitable for young teenagers.

Violence

Moderate violence is allowed but should not dwell on detail.  There should be no emphasis on injuries or blood, but occasional glory moments may be permitted if justified by the context.  Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

Film Classification: PG

'PG' (Parental Guidance) should be general viewing, but some scenes may be unsuitable for young children.  Unaccompanied children of any age may watch a 'PG' film should not disturb a child aged around eight or older.  However, parents are advised to consider whether the content may upset younger/more sensitive children.

Discrimination

Disciminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context.  Discrimination by a character with which children can readily identify is unlikely to be acceptable.

Drugs

References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.

Horror

Frightening sequences should not be prelonged or intense.  Fantasy settings may be a mitigating factor.

Imitable behaviour

No detail of potentially dangerous behaviour which young children are likely to copy.  No glamorisation of realistic or easily accessible weapons.

Language

Mild bad language only.

Nudity

Natural nudity, with no sexual context.

Sex

Sexual activity may be implied, but should be discreet and infrequent.  Mild sex references and innuendo only.

Theme

Where more serious issues are featured (eg. domestic violence) nothing in their treatment should condone unacceptable behaviour.

Violence

Moderate violence, without detail, may be allowed, if justified by its context (eg. history, comedy or fantasy).

Film Classification: U

A 'U' (Universal) film should be suitable for all audiences aged four years and over.

Discrimination

No discriminatory language or behaviour unless clearly disapproved of.

Drugs

No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.

Horror

Scary sequences should be mild, brief and unlikely to casue undue anxiety to young children.  The outcome should be reassuring.

Imitable behaviour

No potentially dangerous behaviour which young children are likely to copy.  No emphasis on realistic or easily accessible weapons.

Language

Infrequent use only of very mild bad language.

Nudity

Occasional natural nudity, with no sexual context.

Sex

Mild sexual behaviour (eg. kissing) and references only (eg. to 'making love')

Theme

While problematic themes may be present, their treatment must be sensitive and appropriate for young children.

Violence

Mild violence only.  Occasional mild threat or menace only.

12. Violence, 13. Sexualised Violence

• Violence has always been a feature of entertainment for children and adults. Classification decisions will take account of the degree and nature of any violence in a work

• Works which feature the following are likely to receive more restrictive classifications: 

      Portrayal of violence as a normal solution to problems
     Heroes who inflict pain and injury
     Callousness towards victims
     The encouragement of aggressive attitudes
     Content which depicts characters taking pleasure in pain or humiliation

• Sexualised violence or works which glorify or glamorise violence will receive a more restrictive classification and may even be cut

• A strict policy on sexual violence and rape is applied. Content which might eroticise or endorse sexual violence may require cuts at any classification level. This is more likely with video works than film because of the potential for replaying scenes out of context. Any association of sex with non-consensual restraint, pain or humiliation may be cut

11. Theme

• Classification decisions will take into account the theme of a work, but will depend significantly on the treatment of that theme, and especially the sensitivity of its presentation 
• The most problematic themes eg. drug abuse, sexual violence, paedophilia, incitement to racial hatred or violence are unlikely to be appropriate at the younger classifications
• However, there is no reason in principle why most themes, could not be presented in a manner which allowed classification at ‘18’ or even ‘15’

9. Sexual References, 10. Sex

• The portrayal of sexual activity can range from kissing and verbal references to ‘making love’, to detail of real sex.  This is reflected in the classification system, in which progressively stronger portrayals are allowed as the categories rise
• Sex works (works whose primary purpose is sexual arousal or stimulation) are likely to be passed only in the adult categories
• Sex works containing only material which may be simulated are generally passed ‘18’
• Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category
• ‘R18’ video works may be supplied only in licensed sex shops which no one under 18 may enter
• ‘R18’ films may be shown only in specially licensed cinemas
• These Guidelines will be applied to the same standard regardless of sexual orientation

8. Nudity

• Natural nudity with no sexual context is acceptable at all classification levels, but will not occur more than occasionally in the lowest category
• Nudity with a sexual context will receive a more restrictive classification and strong detail in such a context will only be passed in the adult categories

7. Language

• Many people are offended, some of them deeply, by bad language
• This may include offensive language with a sexual, religious or racial association or commonly understood rude gestures
• The extent of that offence may vary according to their age, gender, race, background, beliefs and expectations as well as the context in which the word, expression or gesture is used
• For these reasons, it is impossible to set out comprehensive lists of words, expressions or gestures which are acceptable at each category. The advice at different classification levels, therefore, provides general guidance taking account of the views expressed in public consultation exercises

4. Imitable Behaviour, 5. Criminal Behaviour, 6. Weapons

• Classification decisions will take into account any detailed portrayal of criminal and violent techniques, and any glamorisation of easily accessible weapons, such as knives
• Portraying anti-social behaviour such as bullying uncritically may recieve a more restrictive classification 
• Works which, taken as a whole, actively promote illegal behaviour will be cut or rejected  
• Portrayals of potentially dangerous behaviour (suicide and self-harm) which children and young people are likely to copy, will be cut if a more restrictive classification is not appropriate

3. Horror

• The use of frightening elements which might scare/unsettle the audience is the key feature with the horror genre
• Many children enjoy the excitement and thrill of scary sequences, however if the films are targeted at a younger audience, the length and detail of the scary scenes will be looked at closely and be kept to a minimum when making the classification decision
• Horror effects such as music and sound will be taken into account
• If there is a swift/reassuring outcome the classification will be more likely to be lower

2. Drugs

• No work may promote the misuse of drugs
• Any detailed portrayal of drug misuse likely to promote or glamorise it may be cut
• Drug use may be shown if it emphasises the dangers of it, then it may receive a less restrictive classification
• Smoking, alcohol abuse or substance abuse in works which appeal to children may be taken into account
• Classification decisions will take into account any promote or glamorisation of such activities

1. Discrimination

Involves potentially offensive content, relating to matters such as: 

• Race
• Gender
• Religion
• Disability
• Sexuality

The classification takes into account and is influenced by: 

• The strength/impact of the above factors
• The context in which the factor appears
• Where discriminatory language/behaviour is clearly criticized and challenged and not encouraged in any way that it may receive a less restrictive category.

The 13 Main Issues

1. Discrimination
2. Drugs
3. Horror
4. Imitable behaviour
5. Criminal behaviour
6. Weapons
7. Language
8. Nudity
9. Sexual references
10. Sex
11. Theme
12. Violence
13 Sexualised violence

4. Overriding factors

There are certain overriding factors that may influence a classification decision at any level and in connection with any issue.  These factors are of particular importance when a work lies on the borderline between two categories.  Here are the factors they have to consider when classifying a film:

• Context – The audiences expectations, genre, filmmakers intention, production date, special merits of the film

• The tone and impact – If a film has an unsettling tone throughout it is more likely to receive a restrictive classification.

• Release format –A film could require different cuts/classification when releasing on DVD than in cinema and a DVD could occasionally receive a higher classification that in the cinema because of the increased possibility of under-age viewing

3. Legal considerations

• Human Rights Act 1998 – Rights established under this act include the respect for private and family life and freedom of expression.

• The Licensing Act 2003 – Cinemas require a license from the local authority in which they operate, which are:
1. The prevention of crime and disorder
2. Public safety
3. Prevention of public nuisance
4. Protection of children from harm

• The Video Recordings Act 1984 – Films, tv programmes, video games, adverts must be classified by the BBFC and they must take into consideration:
1. Criminal behaviour
2. Illegal drugs
3. Violent behaviour or incidents
4. Horrific behaviour or incidents
5. Human sexual activity

• The Obscene Publications Act 1959 & 1964 – It is illegal to publish work/films that are obscene

• Criminal Justice and Immigration Act 2008 – It is illegal to be in possession of an extreme pornographic image

• The Protection of Children Act 1978 – It is illegal to make, distribute, show or possess indecent photographs of children

• The Sexual Offences Act 2003 – It is illegal to expose oneself with intent to cause alarm or distress

• The Public Order Act 1986 – It is illegal to distribute, show or play to the public a recording of visual images or sounds which are threatening, abusive or insulting

• The Cinematograph Films (Animals) Act 1937 – It is illegal to show any scene ‘organised or directed’ for the purposes of the film that involves actual cruelty to animals.

• The Animal Welfare Act 2006 – It is illegal to supply, publish or show or possess with intent to supply a video recording of an ‘animal fight’

• The Tobacco Advertising and Promotion Act 2002 – It is illegal, in the course of a business, to publish a tobacco advertisement.

2. General principles followed

The BBFC have two general guiding principles that are always followed:

1. That works should be allowed to reach the widest audience that is appropriate for their theme and treatment

2. That adults should, as far as possible, be free to choose what they see, provided that it remains within the law and is not potentially harmful.

They also consider three main qualifications when applying these guidelines:

• Whether the material is in conflict with the law, or has been created through the commission of a criminal offence.

• Whether the material may cause any harm at the category concerned (including moral harm)

• Whether the availability of the material, at the age group concerned, is clearly unacceptable to broad public opinion.

1. Who are the BBFC, what is their role and how are they funded?

• The BBFC stands for British Board of Film Classification

• They are an independent, non-governmental body

• They are funded by and make their money by charging those who submit films and video works for classification eg. film distribution companies

• They classify films on behalf of the local authorities who license cinemas under the Licensing Act of 2003

• The classification is only a guideline and not the law so they can be overruled by the local council if they feel the certification is wrong

• They will not classify material which they believe to be in breach of criminal law

• They carry out responsibilities, where possible, through appropriate use of the classification categories, particularly in order the protect children from any harm which may be caused.  If necessary they may cut or even reject a film.

• The BBFC update their guidelines by through surveys and research from the public to see if public tastes, attitudes, concerns have changed and also if there have been any changes in the law.

The BBFC

The BBFC (British Board of Film Classification) is an independent organisation funded by the film industry and the distribution companies and have nothing to do with the government. I didn't know anything about film classification or regulation before so the powerpoint helped me understand what the BBFC was all about and I learnt alot of information about them. I leanrnt that..

• The BBFC classify films for the UK and for the local authorities although it is only a guideline as the local authorities have the power to overule the BBFC and make their own certificates for that certain area.

• They classify films/dvds/videos and also most video games

• They classify these at either a U, PG, 12A, 15 or 18 and there are certain guidelines for each certificate that they follow every time

• They have the power to reject films completely although this hardly ever happens and only two were rejected in 2009

• BBFC will tell film makers where to make neccessary cuts if they want a certain certificate eg. if it was a 15, they would tell them which bits to cut to make it a 12A in order to reach a wider audience and make more money

• They will reject a film if it involves illegal material