BBFC History: How has it changed?

• In the past, the BBFC was the '...Board of Censorship' and, like it's name, was a much stricter governing force on what was not allowed to be shown in films. The 43 grounds for deletion sum this up.
• Over time, the BBFC had different leaders and directors, and each one tried to make the process less strict to allow films to be expressive forms of artwork.
• The categories for classification have changed and continue to change as the 'A' and 'X' were replaced with '15', '18', '12', 'PG', 'R18', 'U', Uc', and most recently '12A'.
• Changing public views which resulted in ammendments to laws have also greatly affected how the current BBFC is shaped, and on what it's classification process is based.
• The introduction of the home-cinema system, and multi-platform media, has given the BBFC a bigger job as a result of so many titles coming out not just in cinemas, but on DVD and Blu-Ray, Video Games, and Trailers.

History of the BBFC: 2000

New Guidelines:

In 1999, the Board embarked on an extensive consultation process to gauge public opinion before the compilation of new Classification Guidelines. The major outcomes were:

• that the depiction of drugs and drugs use was the cause of greatest concern to parents
• the issue of violence in the lower classification categories was similarly concerning
• use of bad language on screen provoked a range of responses, reflecting varying tolerances in the general public.
• Portrayal of sexual activity, however caused less concern than previously.

The DCMS and Ofcom:

In June 2001, governmental responsibility for film and video classification moved from the Home Office to the Department for Culture, Media and Sport (DCMS). Ofcom is the new regulator for television, radio, telecommunications and wireless communications services. The regulation of films, videos and DVDs does not fall under Ofcom's remit and remains the responsibility of the BBFC. The BBFC is still the only regulator which regulates material before it is seen by the public.

The '12A' rating

In 2002, the new '12A' category replaced the '12' category for film only, and allows children under 12 to see a '12A' film, provided that they are accompanied throughout by an adult. The decision to introduce this new category was taken after a pilot scheme and research had been conducted to assess public reaction. The new category was also conditional on the provision and publication of Consumer Advice for '12A' films.  The Board considers '12A' films to be suitable for audiences OVER the age of 12, but acknowledges that parents know best whether their children younger than 12 can cope with a particular film.  The first '12A' film was The Bourne Identity.

Consumer Advice:

The BBFC lauched website pages such as:

• Parent BBFC
• Children's BBFC
• Consumer Advice

This made the whole system a lot more transparent to the public, helpful for the parents, and educational for children and teenagers.

History of the BBFC: 1990

Despite the statutory regulation of video since 1984, public concern about the influence of videos has continued and there have been periodic calls for stricter standards, most notably following 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.

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). 

History of the BBFC: 1980

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.

  

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 first of the Rambo series, First Blood, 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. 

Development of Home Cinema:

The development of the video recorder created new anxieties about the home viewing of feature films. Legally, there was no requirement that videos should be classified, which meant that films that had not been approved by the BBFC or which were suitable for adults only, were falling into the hands of children.

In particular the tabloid press led a campaign against so called 'video nasties'. This term was not always clearly defined, but there were 70 titles that had either been prosecuted by the DPP under the Obscene Publications Act, or were awaiting prosecution. Some of these were horror films that had never been submitted to the BBFC. Others had been cut for their cinema release, and the video versions sometimes included restored cuts.

The outcome of this concern was new legislation, introduced as a private member’s Bill by Conservative MP, Graham Bright. The Video Recordings Act 1984, makes it an offence for a video work to be supplied if it has not been classified, or to supply a classified work to a person under the age specified in the certificate.

The Board was designated as the authority with responsibility for classification in 1985, with a consequent increase in staff to deal with a massively increased workload consisting of a backlog of titles already on the market and all new titles.

History of the BBFC: 1970

CHANGES TO THE CATEGORY SYSTEM:

• The introduction of the 'AA' was finally approved by local authorities and the industry in 1970.
• 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 might contain some material which some parents might prefer their children not to see.

New System in the US:

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.

History of the BBFC: 1960

Challenges to the Obscene Publications Act (1959), suggested a strong shift in public opinion. John Trevelyan, as Secretary to the Board, responded to the new spirit of liberalism by stating:

"The British Board of Film 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'.
 
As public tolerance increased in the sweeping social change of the sixties, films became more explicit, but in practice the Board still requested cuts, usually to verbal and visual 'indecency'.

One of the most commercially successful series of films of the decade began in 1962 with Terence Young's Dr No, the first of the long running James Bond movies. Passed 'A' with cuts, this set a pattern for what followed, with From Russia With Love passed 'A' with cuts to sexual innuendo in 1963, Goldfinger passed 'A' in 1964 with cuts to nudity and violence, and Thunderball passed 'A' in 1965 with a cut to a sexy massage scene.

History of the BBFC: 1950

One development 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.

The new 'X' category excluded children under 16. 

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.

Nicholas Ray's 1955 Rebel Without A Cause 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'.  

The year 1956 also saw the resignation of Arthur Watkins, who was replaced for the next two years as Secretary by John Nichols. In 1958 John Trevelyan became Board Secretary.
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.

History of the BBFC: 1912-49

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 listed forty-three grounds for deletion as guidance for the 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. 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.

Case Studies:

1: Man vs Northwich Guardian

• Clause 6 applies as the boy is 15 years old and could be protected.
• Public right to know takes priority as it is a serious crime.
• Boy has already posted video on YouTube - so right to privacy is gone.
• Complaint withdrawn.

2: Man vs Zoo Magazine

• Clause 6 applies as child is 10 years old. 
• Potential ridicule of girl by magazine is intruding on childs life.
• Child's face should be blurred, for the sake of child.
• However, man sounds as if he is trying to cover up for bad parenting.
• Complaint stands.

3: Man vs Sunday Times

• Clause 4 applies as it could be seen as harrassment of the child.
• Clause 6 applies as the boy is only 14 and the reporter is not only harrassing a child, but attempting to obtain photos of another child without the schools permission.
• Complaint stands.

4: Women vs The Independent

• Clause 3 applies as the article is an intrusion into the women's private life.
• Not public information as the theatre has official press releases which should be adheared to.
• Complaint stands.

5: Women vs The Sun

• Clause 5 applies as it could be intrusion into grief and shock.
• However, paper insists that it did not treat the death inappropriately.
• Incident happened in public place with many onlookers.
• Complaint withdrawn.

6: Women vs Eastbourne Gazette

• Clause 4 applies as the reporter is harrassing the family and the man.
• Clause 8 applies as the reporter is clearly ignoring the fact that he must have permission from hospital authority to see the patient let alone try to ask them questions.
• Complaint stands.

7: Police Officer vs Sunday Telegraph

• Clause 10 applies as the paper admitted to subterfuge.
• Clause 3 applies as the issue is one about the policewoman's right to privacy, which clearly wasn't respected.
• However, it may be argued that the public have a right to know as a result of the position she holds within the local society.
• Arguement withdrawn.

8: Paul McCartney vs Hello! Magazine

• Clause 3 applies as the issue regards his right to privacy.
• However he is a celebrity in a very public place and so cannot expect privacy.
• Clause 5 applies as it is intrusion into grief of his wifes death.
• This should have been treated respectfully be the press.
• Complaint stands.

PCC: Overview

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 16 clauses as their guidlines.
• 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 a legal one, but rather a voluntary agreement between editors.
• The 16 clauses which act as guidlines are drawn up by a group of editors.
• Non of the PCC staff are connected to the industry.

What does the code of practice cover?

• 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. This is because the PCC recognises that in a democratic society we have the right to free press.
• However, people can choose which newspaper is to their tastes, so with advertising such as billboards, then matters of taste and decency apply more.

How is the PCC funded?

• Funded through the Press Standards Board of Finance (aka PressBof), which is responsible for collecting money from newspapers and magazines in the UK.
• Newspapers and magazines pay a sum proportional to their papers circulation - so big newspapers pay much more than small local papers.
• PCC does not receive any money from government.

History of the PCC:

• The PCC was set up in 1991 and replaced the Press Council, which had been set up in 1953.
• During the 1980s, a small number of publications failed to observe the basic ethics of journalism, and many MPs lost condfidence in the Press Council.
• So the PCC was set up to prove "that non-statutory regulation can be made to work effectively".

Who complains to the PCC and what about?

• The PCC will acept complaints from anyone who thinks an article involving them breaches the code in some way.
• A number of celebrities have used the PCC's service in recent years, but most complaints are from odinary people. (In 2007, 95.8% came from odinary members of the public.)
• 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 to ensure this.
• The PCC still protects the public, and is fast and free.

PCC: 16 Clauses

Accuracy

Opportunity to reply

*Privacy

*Harassment

Intrusion into grief or shock

*Children

*Children in sex cases

*Hospitals

*Reporting of Crime

*Clandestine devices and subterfuge

Victims of sexual assault

Discrimination

Financial journalism

Confidential sources

Witness payments in criminal trials

*Payment to criminals

The public interest

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

Film Classification: Thoughts on the Current System...

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

PROS:

• The system is simple and understandable, with clear guidelines and ratings, the BBFC's classification is a good guide to pick an appropriate film of your choice.
• The BBFC do not have the final say; although their ratings are normally justified by thier guidelines, local authourities can still overule a descision by the BBFC in their area.
• The updated guidelines provided and published by the BBFC keep up to date with the current social climate and culture.
• Parents do not have to watch a film first themselves to decide wether or not to let their child watch it, the ratings are clear, and if they won't suffice, there is detailed information about all classified works on the BBFC's website.

CONS:

• Many people, particularly parents, are not aware of all of the information available to them on the BBFC website.
• Some people argue that films should not be classified by age as some children are more mature than others, and all children are afraid of different things.
• The classification ratings are not well enforced - it is all to easy for a  younger child to watch an 18 rated film on the internet or on DVD, fake ID is also used at cinemas and becoming increasingly hard to police. 

Do you think the way films are regulated is sensible, useful to society and achieves its aim of protecting the vulnerable and upholding the law?

On the whole, I believe the BBFC does a very good job of regulating films. The guidelines are clear, current to the modern society, and adheared to consistantly. The guidelines will enforce the law, if that means making cuts to films or banning works altogether. The current classification system is very useful to society as it helps parents let their children watch suitable films for their age without the parent having to watch the film first themselves.

Is there anything you think could be done to improve the system? 

More awareness of the information available to the public on the BBFC website would greatly improve the system. All to often have parents complained about the ratings given to certain films by the BBFC without actually viewing any of the information availabe regarding the film. If this information was advertised by the government then complaints by ignorant parents could be reduced.

Ratings: The Differences

U - PG

• The themes at PG can be a little more mature, but the nature of how they are presented is still very mild.
• Sex and Relationships can be more acknowledged at PG however its treatment is still discreet and infrequent.
• At PG mild drug use/reference is more acceptable but still must carry an anti-drug message overall.
• Discriminatory language can be used at PG however its use must have an educational or historical context.
• Violence can be stronger at PG, but still will not dwell on any detail and must be justified by it's context.
• At PG horror can be more frightening but still cannot be prolonged and fantasy is treated less strictly.

PG - 12A

• Discriminatory language/behaviour can progress from PG to 12A however still must not be endorsed by the work as a whole.
• Drug mis-use can be shown at 12A [it cannot at PG]  but must be infrequent and not glamorised.
• Moderate physical and psychological threat may be premitted at 12A but cannot be sustained.
• Imitable behaviour can be shown at 12A.
• Strong glamorisation of accesible weapons is not permitted.
• Moderate language is allowed at 12A - compared to mild infrequent language in a PG.
• Nudity in a sexual content is allowed in a 12A but must be brief and discreet.
• Violence is stronger at 12A but still must not dwell on detail.

12A/12 - 15

• At 15, drug references and taking may be shown, but the film must not promote drugs overall.
• Horror can be stronger and more menacing at 15 then at 12A.
• Glamorisation of easily accessible weapons is not acceptable.
• Language can become more frequent and stronger at 15 depending on its context.
• Nudity is more acceptable at 15 compared to a 12A, and can be shown in a sexual context but still not with the inclusion of strong detail.
• Strong verbal references to sexual behaviour is allowed at 15.

15 - 18 

• At 18, the viewer is considered an adult and so is free to choose their entertainment.
• Risk of harm to society is not acceptable.
• Sexualised violence is allowed at 18.
• The inclusion of sexual relationships is much more acceptable at 18 then at 15. 
• Clear images of real sex is not permitted at 18.
  

18 - R18

• Both 18 and R18 rated works may not breach any criminal laws.
• Sexually abusive behaviour is not acceptable. 
• At R18, real sex is allowed unlike at 18.

R18

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years.

The ‘R18’ category is a special and legally restricted classification and the following content is not acceptable:

• any material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959

• material (including dialogue) likely to encourage an interest in sexually abusive activity (for example, paedophilia, incest or rape) which may include adults role-playing as non-adults

• the portrayal of any sexual activity which involves lack of consent (whether real or simulated). Any form of physical restraint which prevents participants from indicating a withdrawal of consent

• the infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity

• 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 game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable

18

 

Suitable only for adults.

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.

In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.

 

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’.

15

Suitable only for 15 years and over.

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

 

Discrimination

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

 

Drugs

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

 

Horror

Strong threat and menace are permitted unless sadistic or sexualised.

 

Imitable behaviour

Dangerous behaviour (for example, 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 (for example, ‘fuck’). The strongest  terms (for example, ‘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.

12A

Suitable for 12 years and over

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

 

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 (for example, 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 (for example, ‘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 gory 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.

Parental Guidance

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 or more sensitive children.

 

Discrimination

Discriminatory 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 prolonged 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 (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.

 

Violence

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

Universal – Suitable for all

It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

 

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 cause 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 (for example, kissing) and references only (for example, 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.

Video games

Video games are classified under the same Guidelines and using the same categories as works such as film or DVD.

The BBFC acknowledges the difference between watching a film or DVD and the more interactive experience of playing a game but limited research has been done into whether ‘interactivity’ has any significant effect on the potential for harm.


The ability of a game to make a young player complicit in behaviour involving, for example, sex, drugs or realistic violence, may be as important as the level of detail shown, especially where such behaviour forms a major component of the game, and where the level of interactivity is high.


In a video game, the frequency with which an issue occurs depends on how the player chooses to play the game, and how many times a particular level is attempted before completion.


Where frequency is a category defining issue (e.g. with respect to strong language), the BBFC bases its judgement on an assessment of the frequency with which a player is likely to encounter the issue during normal gameplay.


Given the lack of research, especially in relation to harm, and given the rapid developments in the sophistication of video games, the BBFC may take a more cautious approach when a video game lies on the borderline between two categories, or contains material which raises issues of acceptability at the adult categories.

Public information

Where an advertisement is part of a public information campaign or has a charitable purpose, the more restrictive approach (outlined in the post on trailers/adverts) will not normally apply. However, potentially shocking or offensive content in such advertisements must not go beyond what is likely to be acceptable to the particular audience.

Trailers/Adverts

Because trailers and advertisements are short and self-contained, borderline material is less likely to be justified by context and more likely to cause offence.

For these reasons, classification decisions for trailers and advertisements may be more restrictive than for equivalent material in a main feature, for example:

• strong language is not permitted in trailers or advertisements at any category below ‘15’
• only one use of strong language is permitted in a trailer or advertisement at ‘15’ and must be neither threatening nor aggressive.

Advertisements for alcohol of any type can be passed at any category.  However, these may receive a more restrictive classification if there are overt attempts to associate alcohol with sexual prowess and/or a glamorous or successful lifestyle.


Advertisements for tobacco are prohibited by law.

Titles

If the title of a work incites hatred on grounds of race, religion or sexual orientation, or incites other criminal behaviour; or encourages an interest in abusive or illegal sexual activity, changes will be required as a condition of classification.

If the title of a work is likely to cause significant offence to a significant number of people if displayed in a public place, the distributor will be advised to consider carefully the places in which it is likely to be seen and to take appropriate action, for example by obscuring certain words on packaging or marketing materials. 


(This advice is not given in relation to works classified ‘R18’ as such works can only be supplied or offered for supply in a licensed sex shop.) 

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.

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 (for example, drug abuse, sexual violence, paedophilia, incitement to racial hatred or violence) are unlikely to be appropriate at the most junior levels of classification. 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’.

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.

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.

Language

Many people are offended, some of them deeply, by bad language. This may include the use of expletives with a sexual, religious or racial association, offensive language about minority groups and commonly understood rude gestures.


The extent of that offence may vary according to age, gender, race, background, beliefs and expectations brought by viewers to the work, 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.

Imitable behaviour

Classification decisions will take into account any detailed portrayal of criminal and violent techniques, and any glamorisation of easily accessible weapons, such as knives.

 

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.

Horror

Many children enjoy the excitement of scary sequences, but, where films are targeted at a younger audience, classification decisions will take into account such factors as:

• frequency

• length 

• detail 

regarding scary scenes as well as horror effects, including music and sound, and whether there is a swift and reassuring outcome.

 

Older audiences often pay to see horror films because they like being frightened or shocked and such works are classified at an appropriate category to ensure that the young and vulnerable are protected from too intense an experience.

Drugs

No work taken as a whole may promote the misuse of drugs and any detailed portrayal of drug misuse likely to promote or glamorise the activity may be cut. 

Works which show drug misuse while emphasising the dangers may receive less restrictive classifications. 

Where smoking, alcohol abuse or substance misuse feature to a significant extent in works which appeal to children, this will be indicated in the Extended Classification Information.

Discrimination

Potentially offensive content, relating to such matters as: 

• race

• gender

• religion

• disability

• sexuality

The classification decision will take account of the strength or impact of its inclusion. 

Works with such content may receive a less restrictive category where discriminatory language and behaviour is criticised; or the work as a whole seeks to challenge such attitudes, or is obviously dated.

Reflections: Lessons 1 & 2

Learning about film classification has been really interesting so far, here are some interesting facts I learnt:

• The Film Industry did not want the government to be directly involved in the classification of films and as a result set up their own classification companies, such as they BBFC in Britain, so that the film industry could become independant and self-regulating. 
• The local authorities can overrule the decision made by the BBFC and this can lead to the film not being shown in the area - so certain films cannot be watched in certain areas.
• Although the BBFC follow their own guidelines extremely well, and normally make the right decision, some parents still complained when they thought that the 'Dark Knight' should have been a 15 even though the definition of the 12A it received says that it is up to the adult to decided whether their child can see the film. A lack of knowledge about the information availble is found here as most parents do not know that there are detailed summaries of every regulated film on the ParentBBFC website.   

The BBFC: Overarching Factors

Whilst the BBFC have to abide closely to their guidelines and the law, they also have a hard time dealing with borderline cases. Then, they have to consider the following:

• The context in which the issue is presented
• Expectations of the public
• A work's genre
• The manner in which the issue is presented
• The intention of the film maker
• The original production date of the work

The Dark Knight was rated a 12A by the BBFC despite the complaints of the public of it being to dark and violent in places. The 12A rating was justified due to the work's fantastical genre and nature - as the super-hero genre would very much appeal to the 12-15 year old audience.

Legal Consideration:

• The Human Rights Act, 1998

• The Video Recordings Act, 1984

• The Licensing Act, 2003

• The Obscene Publications Act, 1959 & 1964

• Criminal Justice and Immigration Act, 2008

• The Protection of Children Act, 1978

• The Sexual Offenses Act, 2003

• The Public Order Act, 1986

• The Cinematograph Films (Animals) Act, 1937

• The Animal Welfare Act, 2006

• The Tobacco Advertising and Promoting Act, 2002

The BBFC: General Principles

Two guiding principles:

• Works should be allowed to reach the widest audience appropriate for their theme and treatment.

• Adults should, as far as possible, be free to choose what they see, provided that it remains within the law.

When applying these guiding principles, they also consider:

• If the material is in conflict with the law, or created through the commission of a criminal offence.
• If the material may cause harm to the category concerned, any viewer or wider society as a result of its viewing.
• If public opinion clearly deems it inappropriate for the age group concerned to be viewing the content in question.

The BBFC:

The BBFC, British Board of Film Classification, is an independant, non-governmental organisation, which is self funded. Their funding comes from the fees they charge to distribution companies to classify films.

• They classify films on behalf of the local authorities who license cinema's under the 'Licensing Act 2003'.

•  They classify videos/dvds/blu-rays under the 'Video Recordings Act 1984'.

•  They classify online content under a scheme called BBFC.Online.

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

• The BBFC reconsider and update their classification guidelines every few years as a result of a lot of research and public consultation.