The BBFC is different to how it was in the past because it is way more lenient than it once was. They have changed their Guidelines according to the way the public has changed their views and the way society has changed.
The BBFC is way more known and public than it once was. The websites it has on offer means that the public can easily access the information it has to offer
Monday 28 March 2011
2000
1999
The Board embarked on an extensive consultation process to gauge public opinion before the compilation of new Classification Guidelines which showed that the major concerns were drugs and violence which sex caused less concern than previously.
A whole generation of European film makers seemed determined to push the boundaries of what was sexually acceptable on the screen.
2001
Ofcom became the new regulator for television, radio, telecommunications and wireless communications services. Film regulation is still the responsibility of the BBFC.
2002
The new '12A' category replaced the '12' category for film only.
2003
The children's BBFC website was set up
2004
The majority of film distributors agreed to include the Consumer Advice in publicity for all films.
David Cooke was appointed Director.
2005
BBFC published a new set of Guidelines based on an even more extensive research programme than the one which resulted in the 2000 Guidelines. Public support for the BBFC went up from 59% in 2000 to 63% in 2004.
The Student's BBFC website was set up.
2006
Landmark '18' certificates were awarded to two high-profile films containing explicit images of real sex.
2007
Introduction of the Parent's BBFC website.
2009
The BBFC published its most recent set of Guidelines based on another detailed public consultation exercise conducted in 2008-2009. 62% of the general public felt that the BBFC was effective.
The Board embarked on an extensive consultation process to gauge public opinion before the compilation of new Classification Guidelines which showed that the major concerns were drugs and violence which sex caused less concern than previously.
A whole generation of European film makers seemed determined to push the boundaries of what was sexually acceptable on the screen.
2001
Ofcom became the new regulator for television, radio, telecommunications and wireless communications services. Film regulation is still the responsibility of the BBFC.
2002
The new '12A' category replaced the '12' category for film only.
2003
The children's BBFC website was set up
2004
The majority of film distributors agreed to include the Consumer Advice in publicity for all films.
David Cooke was appointed Director.
2005
BBFC published a new set of Guidelines based on an even more extensive research programme than the one which resulted in the 2000 Guidelines. Public support for the BBFC went up from 59% in 2000 to 63% in 2004.
The Student's BBFC website was set up.
2006
Landmark '18' certificates were awarded to two high-profile films containing explicit images of real sex.
2007
Introduction of the Parent's BBFC website.
2009
The BBFC published its most recent set of Guidelines based on another detailed public consultation exercise conducted in 2008-2009. 62% of the general public felt that the BBFC was effective.
1990
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. Public opinion rallied behind calls for stricted regulation.
1994
Parliament supported an amendment to the Video Recordings Act, contained in the Criminal Justice and Public Order Act which requires the Board to consider specific issues and the potential for harm when making video classification decisions.
The BBFC started to receive some of the stronger video games for formal classification which necessitated a different way of examining.
1995
Controversy erupted about Larry Clark's film Kids which some critics described as child pornography.
1997
BBFC's president Lord Harewood stepped down after 12 years in the job. His replacement Andreas Whittam Smith announce his intention to steer the BBFC towards a greater 'openess and accountability'.
1998
The publication of the BBFC's first set of classification Guidelines following a series public 'roadshows' in which public views were canvassed and the launching of a BBFCwebsite.
1999
Robin Duval became the Director and standards continued to evolve with due consideration of recent relevant research, shifts in public attitudes and the developments in comparable media such as terrestrial, satellite and cable television and the internet.
The removal of the BBFC's controversial policy on oriental weaponry. Emphasis was changed towards a policy of being concerned about the glamorisation of any weapons especially at the junior categories.
1994
Parliament supported an amendment to the Video Recordings Act, contained in the Criminal Justice and Public Order Act which requires the Board to consider specific issues and the potential for harm when making video classification decisions.
The BBFC started to receive some of the stronger video games for formal classification which necessitated a different way of examining.
1995
Controversy erupted about Larry Clark's film Kids which some critics described as child pornography.
1997
BBFC's president Lord Harewood stepped down after 12 years in the job. His replacement Andreas Whittam Smith announce his intention to steer the BBFC towards a greater 'openess and accountability'.
1998
The publication of the BBFC's first set of classification Guidelines following a series public 'roadshows' in which public views were canvassed and the launching of a BBFCwebsite.
1999
Robin Duval became the Director and standards continued to evolve with due consideration of recent relevant research, shifts in public attitudes and the developments in comparable media such as terrestrial, satellite and cable television and the internet.
The removal of the BBFC's controversial policy on oriental weaponry. Emphasis was changed towards a policy of being concerned about the glamorisation of any weapons especially at the junior categories.
1980
1980
Tinto Brass' Caligula - problems occured after shooting and Guccione added some of his own material which was hard-core pornography.
The film arrived in the UK with the reputation of being 'the most controversial film of the eighties' and it was seized by Customs and Excise officials and was then seen by the BBFC together with lawyers and Custom officials so any footage that was in danger of breaching UK law could be removed.
After 6 months, the film was released with a 'X' certificate and passed '18' uncut in 2008.
1982
'A' was changed to 'PG'
'AA' was changed to '15'
'X' was changed to '18'
A new category 'R18' was introduced which permitted more explicit sex films to be shown in members-only clubs.
The development of the video recorder created new anxieties about home viewing of feature films as there was no requirement that videos should be classified. VIDEO NASTIES
1984
The outcome of this concern was new legislation introduced as a private member's Bill by Conservative MP, Graham Bright. The Video Recordings Act made 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.
1985
The Board was designated as the authority with responsibility for classification .
At request of the industry, the 'Uc' was introduced for video only to identify works specifically suitable for very young children to watch alone.
1989
The BBFC introduced the '12' certificate on film to bridge the huge gap between 'PG' and '15'. The first film ti be given a '12' rating was Batman.
Tinto Brass' Caligula - problems occured after shooting and Guccione added some of his own material which was hard-core pornography.
The film arrived in the UK with the reputation of being 'the most controversial film of the eighties' and it was seized by Customs and Excise officials and was then seen by the BBFC together with lawyers and Custom officials so any footage that was in danger of breaching UK law could be removed.
After 6 months, the film was released with a 'X' certificate and passed '18' uncut in 2008.
1982
'A' was changed to 'PG'
'AA' was changed to '15'
'X' was changed to '18'
A new category 'R18' was introduced which permitted more explicit sex films to be shown in members-only clubs.
The development of the video recorder created new anxieties about home viewing of feature films as there was no requirement that videos should be classified. VIDEO NASTIES
1984
The outcome of this concern was new legislation introduced as a private member's Bill by Conservative MP, Graham Bright. The Video Recordings Act made 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.
1985
The Board was designated as the authority with responsibility for classification .
At request of the industry, the 'Uc' was introduced for video only to identify works specifically suitable for very young children to watch alone.
1989
The BBFC introduced the '12' certificate on film to bridge the huge gap between 'PG' and '15'. The first film ti be given a '12' rating was Batman.
1970
It was recognized that teenagers had specific concerns of their own which ought to be reflected in the category system.
1970
Introduction of the 'AA' was finally approved by local authorities and the industry. The minimum age for 'X' certificate films was raised from 16 to 18. The 'A' category was split to create 'A' (which permitted admissions of children aged 5 or over whether accompanied or not but warned parents that the film may contain unsuitable material) and 'AA' (allowed admission of those over 14, but not under 14, whether accompanied or not.
1971
Stephen Murphy became Secretary of the Board.
1973
The Exorcist was accused of having psychologically damaging effects on young people and classified with an 'X' but the decision of the BBFC was overturned by a number of local authorities.
1975
James Ferman became Secretary of the Board and the first film that he looked at was The Texas Chain Saw Massacre which his predecessor had already refused to classify shortly before his departure. Ferman agreed that the violence and terrorisation in the film was unacceptable.
During his time, Ferman permitted increasingly explicit sexual material whilst clamping down on sadistic violence and sexual violence. His attitudes and policies reflected a more general shift of public concern during the 70s.
1977
The extension to the Obscene Publications Act gave the BBFC more latitude when considering depictions of sex in films since they now had to be considered 'as a whole'
1970
Introduction of the 'AA' was finally approved by local authorities and the industry. The minimum age for 'X' certificate films was raised from 16 to 18. The 'A' category was split to create 'A' (which permitted admissions of children aged 5 or over whether accompanied or not but warned parents that the film may contain unsuitable material) and 'AA' (allowed admission of those over 14, but not under 14, whether accompanied or not.
1971
Stephen Murphy became Secretary of the Board.
1973
The Exorcist was accused of having psychologically damaging effects on young people and classified with an 'X' but the decision of the BBFC was overturned by a number of local authorities.
1975
James Ferman became Secretary of the Board and the first film that he looked at was The Texas Chain Saw Massacre which his predecessor had already refused to classify shortly before his departure. Ferman agreed that the violence and terrorisation in the film was unacceptable.
During his time, Ferman permitted increasingly explicit sexual material whilst clamping down on sadistic violence and sexual violence. His attitudes and policies reflected a more general shift of public concern during the 70s.
1977
The extension to the Obscene Publications Act gave the BBFC more latitude when considering depictions of sex in films since they now had to be considered 'as a whole'
1960
1960
Challenges to the Obscene Publications Act (1959) in cases such as the successful defence of the novel Lady Chatterley's Lover suggested a strong shift in public opinion when a jury acquitted this work.
1964
Violence in Walter Grauman's Lady In A Cage proved too strong for the Board and the film was rejected on the grounds that it could 'invite and stimulate juvenile violence and anti-social behaviour by young people'
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.
Attitudes to sexuality were on the change and 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'
Public tolerance increased increased in the sweeping social change of the 60s, films became more explicit but in practice the Board still requested cuts, usually to verbal and visual 'indeceny'
1967
Arthur Penn's Bonnie and Clyde with its notorious denouement of the charismatic outlaws being riddled with bullets was passed 'X' uncut in 1967.
Challenges to the Obscene Publications Act (1959) in cases such as the successful defence of the novel Lady Chatterley's Lover suggested a strong shift in public opinion when a jury acquitted this work.
1964
Violence in Walter Grauman's Lady In A Cage proved too strong for the Board and the film was rejected on the grounds that it could 'invite and stimulate juvenile violence and anti-social behaviour by young people'
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.
Attitudes to sexuality were on the change and 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'
Public tolerance increased increased in the sweeping social change of the 60s, films became more explicit but in practice the Board still requested cuts, usually to verbal and visual 'indeceny'
1967
Arthur Penn's Bonnie and Clyde with its notorious denouement of the charismatic outlaws being riddled with bullets was passed 'X' uncut in 1967.
1950
1951
Controversial subjects on film were accommodated in the UK under the new 'X' category and it incorporated the formed advisory 'H' category given to horror films.
The growth of television ownership eroded the adult'family cinema audiences and the popular Press suggested that there was increased teenage criminality when in fact there was no evidence of a teenage crime wave.
1954
Concerns about juvenile delinquents delayed the classification of Laslo Benedek's film The Wild One for thirteen years because the Board described the contents as 'a spectacle of unbridled hooliganism'. 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.
1955
Richard Brook's The Blackboard Jungle was submitted and the first reaction of Arthur Watkins was to reject it on the grounds that 'filled as it is with scenes of unbridled revolting hooliganism it would, if shown in this country, provoke the strongest criticism from parents...and would have the most damaging and harmful effect on young people'
The rejection decision was challenged by MGM and the film was viewed again by the Board President which resulted in another rejection.
A series of negotiations that began, resulting in substantial cuts for an 'X' certificate.
1956
The Board felt able to offer an 'X' with cuts to details of drug-preparation and some incidental violence.
Arthur Watkins resigned and was replaced as Secretary by John Nichols.
1958
John Trevelyan became Board Secretary.
Upheaval in social and class barriers that followed the war is reflected in films like Jack Clayton's Room At The Top which generated much amicable negotiation between John Trevelyan and Romulus Films on the language used in the film.
Controversial subjects on film were accommodated in the UK under the new 'X' category and it incorporated the formed advisory 'H' category given to horror films.
The growth of television ownership eroded the adult'family cinema audiences and the popular Press suggested that there was increased teenage criminality when in fact there was no evidence of a teenage crime wave.
1954
Concerns about juvenile delinquents delayed the classification of Laslo Benedek's film The Wild One for thirteen years because the Board described the contents as 'a spectacle of unbridled hooliganism'. 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.
1955
Richard Brook's The Blackboard Jungle was submitted and the first reaction of Arthur Watkins was to reject it on the grounds that 'filled as it is with scenes of unbridled revolting hooliganism it would, if shown in this country, provoke the strongest criticism from parents...and would have the most damaging and harmful effect on young people'
The rejection decision was challenged by MGM and the film was viewed again by the Board President which resulted in another rejection.
A series of negotiations that began, resulting in substantial cuts for an 'X' certificate.
1956
The Board felt able to offer an 'X' with cuts to details of drug-preparation and some incidental violence.
Arthur Watkins resigned and was replaced as Secretary by John Nichols.
1958
John Trevelyan became Board Secretary.
Upheaval in social and class barriers that followed the war is reflected in films like Jack Clayton's Room At The Top which generated much amicable negotiation between John Trevelyan and Romulus Films on the language used in the film.
1912-1949
1912
The BBFC was established.
1916
T.P. O'Connor was appointed President of the BBFC. He summarised the Board's Policy by listing 43 grounds for deletion laid down for the guidance of examiners which shows the strictness felt necessary if the Board was to earn the trust of the public and relevant bodies.
YEARS BETWEEN THE WARS
Material that caused concern included horror and gangster films as well as those that dealt with aspects of sexuality. Some councils were barring children from films that were classified 'A'
London County Council and Manchester City Council banned children from Frankenstein (1931) although the sequence in which the monster drowns a small girl had already been cut.
1932
The advisory category 'H' (for horror) was agreed to indicate the potential unsuitability for children of the horror theme.
1948
Arthur Watkins was appointed Secretary to the Board under the Presidency of Sir Sidney Harris. Both men came from the Home Office. Watkins and Harris formulated new terms of reference for the Board based on three principles:
The BBFC was established.
1916
T.P. O'Connor was appointed President of the BBFC. He summarised the Board's Policy by listing 43 grounds for deletion laid down for the guidance of examiners which shows the strictness felt necessary if the Board was to earn the trust of the public and relevant bodies.
YEARS BETWEEN THE WARS
Material that caused concern included horror and gangster films as well as those that dealt with aspects of sexuality. Some councils were barring children from films that were classified 'A'
London County Council and Manchester City Council banned children from Frankenstein (1931) although the sequence in which the monster drowns a small girl had already been cut.
1932
The advisory category 'H' (for horror) was agreed to indicate the potential unsuitability for children of the horror theme.
1948
Arthur Watkins was appointed Secretary to the Board under the Presidency of Sir Sidney Harris. Both men came from the Home Office. 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 extenuating vice or crime or depreciating moral standards?
- was it likely to give offence to reasonable minded cinema audiences?
- what effect would it have on children?
The effect on children was of major importance since no category that excluded children. As '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.
Thursday 17 March 2011
BBFC Seminar
It was great to have one of the actual examiners come to talk to us. Although we had already gone through most of the information, it was insightful to hear it from a person that is involved in the process each and every day.
I knew that the BBFC classified games but was surprised to hear that they actually have to play the game in order to classify it.
It was also interesting to learn that they have no say in what they have to watch and classify. It is all done randomly. I enjoyed watching the clips especially the scene from "The Killer Inside Me" which was passed at "18" although it is VERY disturbing.
I knew that the BBFC classified games but was surprised to hear that they actually have to play the game in order to classify it.
It was also interesting to learn that they have no say in what they have to watch and classify. It is all done randomly. I enjoyed watching the clips especially the scene from "The Killer Inside Me" which was passed at "18" although it is VERY disturbing.
PCC Seminar
I found the seminar very interesting on Wednesday. It was great to see where they actually work and it was totally different to how I imagined it. I thought it would be a very uninviting serious place but was surprised to find it to be very friendly; definitely the kind of place I would go if I wanted to complain about the press.
Something I didn't expect was that if something discriminatory is written against a specific individual, the complaint will not be upheld unless that specific individual complains.
I liked the examples we were shown and how the reasons why decisions were made were clearly explained to us. It was great that the woman giving the seminar actually worked in the PCC and was involved in dealing with complaints.
Something I didn't expect was that if something discriminatory is written against a specific individual, the complaint will not be upheld unless that specific individual complains.
I liked the examples we were shown and how the reasons why decisions were made were clearly explained to us. It was great that the woman giving the seminar actually worked in the PCC and was involved in dealing with complaints.
Thursday 10 March 2011
The PCC Code of Practice
- 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 *
A clause that is marked with a * means that there will be exceptions to the clause if it can be demonstrated to be in the public interest.
The public interest includes, but is not confined to:
- Detecting or exposing crime or serious impropriety.
- Protecting public health and safety.
- Preventing the public from being misled by an action or statement of an individual or organisation.
The Press Complaints Commission
What does the PCC do?
- independent body which deals with complaints about editorial content of newspapers and magazines in the UK and their websites.
- follows a sixteen clause "Code of Practice" which act as the "rules" for editors and journalists.
- investigates complaints from people who believe the Code has been broken.
- the PCC acts as a mediator to help the editor and complainant agree on a way to resolve the dispute.
- the Commission can also issue a formal judgement (adjudication) on the complaint.
How is the PCC funded?
- funded through a body called the Press Standards Board of Finance which collect money from newspapers and magazines in the UK.
- each newspaper and magazine contribute an amount in proportion to the number of people who buy it and read it.
- members of the public do not have to pay for the service directly or indirectly (through takers)
- the PCC doesn't receive any money from the Government.
What is the history of the PCC?
- set up in 1991 and replaced the Press Council.
- during the 1980s, some publications failed to observe the basic ethics of journalism ad this led many MPs to lose confidence in the Press Council as they thought it was weak and ineffective.
- some politicians believed it would be better to have a new regulatory authority that would come under government control and have the power to enforce legal punishments on the press.
- the PCC was set up as a "last saloon" type scenario and it has continued to grow in respect and influence.
Who complains to the PCC and what do they complain about?
- the PCC accepts complaints from anyone who believes an article involving them breaches the Code in some way.
- in 2007, 95.8% of complaints were from ordinary members of the public. (1.5% came from people in the public eye)
- the Code provides special protection to particularly vulnerable groups of people such as children, hospital patients and those at risk of discrimination.
- majority of complaints are about regional newspapers.
Why is the PCC important?
- the press should not be subject to stringent controls by law or by government.
- the PCC, being an independent, voluntary organisation, protects againt this possibility simply by its existence.
- being free doesn't mean the press should not be accountable, there has to be a balance.
- the PCC is committed to protecting the public by ensuring that when the rules are broken it can put things right as soon as possible.
- it is FAST, FREE and FAIR.
