Film classification in the UK

Reasons for studying censorship

It is intrinsic to the film business- the way films are made, marketed, distributed and consumed

• Knowledge of the classification system informs film making and marketing decisions, and the way audiences approach filmsExample: PG-13 f-word

• Boundary setting defines the limits of acceptability and film makers and marketers sometimes like to push against boundariesExample: 9 Songs (2005) 'The most sexually explicit film in the history of British cinema' (The Guardian)

Charlie's Angels (2000)

This is England (2007)

Brief history (1)

liberalization and rationalization is the same as the key trend over time

Moralistic paternalism

Bureaucratic protectionism

• Unwritten rules• Shared values, rigid moral code• We know what's best for you

• Published guidelines• Public consultation• Child protection

1912

Social changes

Censorship changes

1920s 1930s 1940s

British Board of Film Censors established

Prohibits 'indecorous, ambiguous and irreverent titles', 'unnecessary exhibition of under-clothing' etc.

1932- introduction of 'U', 'A' and 'H' symbols

Pre-war: Victorian values

Inter-war years:General strike, Depression and decline of the empire

1950s

Social changes

Censorship changes

1960s 1970s

1951- 'X' category introduced

The Wild One (1954)Release delayed for 13 years for 'spectacle of unbridled hooliganism'

1960- Lady Chatterley's Lover trial

Post-war prosperity& birth of theteenager!

Baby-boomers come of age; sexual and social liberation

The dream sours:economic downturn and social unrest

1970- 'X' raised to 18

1974- 33.9% of films cut

1980s• Home video takes off• ‘Video nasties’- DPP list• Video Recordings Act 1984• Name changed to British Board of Film Classification• ‘A’ becomes ‘PG’, ‘AA’ changes to ‘15’ and ‘X’ becomes

‘18’. ‘R18’ introduced for films to be shown in private members clubs or sold in licensed premises

• ‘12’ rating added in 1989 (Batman)

1990s to present• Juvenile crime and video violence• CJPO Act 1994• 1998- Andreas Whittam Smith becomes President and

steers Board towards greater openness and transparency (published guidelines)

• Consultation led to relaxation of sex restrictions at ‘15’ and ‘18’. Portrayal of real sex was allowed at ‘18’ provided it was ‘exceptionally justified by context’

• ‘12A’ replaces ‘12’ for film- parental responsibility• Consumer advice

“We give the public information that empowers them to make appropriate viewing decisions for themselves and those in their care. We help to protect vulnerable viewers and society from the effects of viewing potentially harmful or unsuitable content while respecting adult freedom of choice.”

BBFC Vision Statement

Cuts over the decades

DecadeAverage %of films cut

1910s 2.71920s 10.81930s 13.51940s 10.51950s 21.21960s 20.61970s 26.71980s 16.51990s 6.72000s 2.1 Source: BBFC

Legal considerations (1)Video Recordings Act 1984

– Requires BBFC to have special regard for any harm to those likely to view a video and any harm to society through the behaviour of those viewers

Cinematograph Films (Animals) Act 1937

– It is illegal to show any scene ‘organised or directed’ to involve actual cruelty to animals (e.g. Snatch 2000)

Legal considerations (2)

Protection of Children Act 1978 – It is illegal to show indecent photographs of

a child (under 18)

Obscene Publications Act 1959– It is illegal to show a work that is obscene.

A work may be found obscene if, taken as a whole, it has the tendency to ‘deprave and corrupt’ a significant proportion of the audience.

BBFC structure

President & vice presidents

Director

Council of Management

Heads of Policy & Press

Examining team Administration

Advisory Panel onChildren's Viewing

Consultative Committee

Video Appeals Committee

Mechanics of classification• Films are submitted by distributors and classified for a fee• They are viewed by two examiners, who write a report

recommending a classification• Others are involved if decision is not forthcoming or likely to be

controversial• There is no automatic right of appeal for film decisions (Honest,

2000, End of the Affair, 1999, This is England, 2007)

Challenges

• Pro-censorship reforms

• Availability of unclassified works (e.g. piracy, grey imports etc.)

• New formats that bypass the system (e.g. downloads, mobile applications etc.)

Media literacy is seen as one solution

The difference between Japan and the US

Japan US