The British Board of Film Classification

History, Background and Policy

• The BBFC was established in 1912
  
• It is an independent company funded by fees they charge – not by the Government.
  

Legislations

• 
  The obscene publications act 1959 & 1964
  
• Cinematograph films ( animals act) 1937
  
• Protection of children act 1978
  
• Race relations act 1976
  

Human rights act 1998

In 1975 the board cut 30% of all films submitted – mostly in the ‘X’ category.
By 1985 this was dropped to 18%.
By 1995 only 6.6% were cut, all ‘cuts for category’ 12, 12A and PG (this means content was cut to lower the category so that a wider audience could view the film).
By 2005 only 1.1% was cut.

In 2008 the BBFC classified:-

• 639 films. 405 were either 12A or 15.
• 1149 videos and DVDs. 2613 in the 12 category.
• 2237 trailers and ads. 1258 for cinema release.
• In 2008 the BBFC rejected only 2 works, 1 being Manhunt 2 (original version) due to extreme sadism.

Aspects taken into consideration:-

• Story
• Style
• Audience
• Moral Framework
• Artistic or educational merit
• Precedent
• Possible Harm
• Potential level of offensiveness
• Context => language within context e.g. swearwords can keep film at a 12A whereas extensive use or violent use pushes up the certificate.
  

Of the material that Examiners have to view, these questions need to be asked:
Is the material in conflict with the law?
Is the material, at the age group concerned, likely to be harmful?
Is the material, at the age group concerned, clearly unacceptable to broad public opinion?

Classifications

Violence
U – Mild reference only
PG – Moderate violence without detail
12 – Violence must not be dwelled on therefore should be no emphasis on injury or pain
15 – Violence may be strong but may not dwell

Horror
U – Should be mild and brief with a reassuring outcome
PG – Frightening sequences should not be prolonged or intense
12 – Sustained moderate threat and menace is allowed with only occasional gory moments
15 – Strong threat and menace are permitted but the strongest gory images are unlikely to be acceptable

Sex
U – Mild behaviour (kissing) and references (“making love”) only
PG – sexual activity may be implied but must be discreet
12 – May be implied but references should not go beyond what is suitable for adolescents
15 – Sexual activity can be shown but without strong detail but there may be strong verbal references

Language
U – Infrequent use of very mild language only
PG – Mild bad language only
12 – Strong language must be infrequent
15 – There may be frequent strong language but the strongest terms are only acceptable where justified (by context) aggressive use of the strongest language is unlikely to be acceptable

Imitable Techniques/Behaviour
U – No emphasis on realistic or easily accessible weapons, no potentially dangerous behaviour youngsters may copy
PG – No glamorisation of realistic or easily accessible weapons
12 – Dangerous techniques should not dwell on imitable detail or appear harm free, no glamorisation of easily accessible weapons
15 – No imitable detail

Theme Offence
The acceptability of a theme depends on its context and sensitivity of presentation. The most problematic themes i.e. racism are unlikely to be appropriate at the most junior levels of classification.

Adverts/Public Information Films
Classification decisions may be more restrictive with regard to trailers and advertisements. This is because difficult content in such short works may have a greater impact on an unprepared audience.

From looking around the BBFC's student website under a report on the 2005 classification guidelines i found this interesting information

Percentages of people who think the BBFC Guidelines are ‘about right’:
Sex – 58 per cent

• Violence – 53 per cent
• Language – 51 per cent
• Drugs – 54 per cent

How Bleak House Builds Tension and Mystery in This Extract

Bleak House is an example of an unconventional period drama. It challenges the generic editing techniques used in a Victorian period drama which is usually very simple and straightforward in order to reflect the era and increase verisimilitude in order to attract the audience’s attention.
In contrast with the conventional period drama, Bleak House uses a range of editing techniques and aspects of mise-en-scene to create atmosphere and build tension throughout the extract. For instance, during the extract the camera is quite unsteady and a lot of shots contain objects in the way skewing the audience’s vision. A deep focus is used to make the objects blocking the view out of focus, guiding the audience to the action. This also gives the overall effect that the viewer is watching from within the room, hiding behind objects which make them feel like they are watching something that is confidential and they probably shouldn’t be creating a thrill, building tension and mystery. It also links the drama with other genres such as a thriller or a docudrama.
The opening scene based around the reading of legal documents is shot in a ‘cold’ lighting possibly using the use of a blue hue or filter. This connotes a cold relationship between the two main characters which is made clear by their tense banter and lack of eye contact. The blue tinted lighting emphasises the tension between the characters which creates an unsettling, uncomfortable feeling for the viewer.
Another aspect that is used to build tension is the use of composition especially depth of field. The depth of field alters frequently to highlight the thoughts and actions of the characters. The flip between deep and shallow focus to follow the characters during conversation guides the audience’s attention to specific parts of the action that helps them to understand certain characters (especially Lady Dedlock) thoughts and feelings, building tension and adding to the idea of mystery as it keeps parts of the action out of focus leaving the mind to wonder. It could also connote Lady Dedlock’s clouded thoughts or the characters’ narrow mind.
A soundtrack is introduced just before the pace of the action begins to increase where Lady Dedlock picks the letter up from the floor. It begins quietly and increases parallel to the action. The soundtrack is dark and heavy with the use of [[what instruments are used? What does it reflect]], building tension. The beat reflects the sound of a heartbeat implying that something is going to happen to do with health. It also puts the audience in Lady Dedlock’s state of mind, making them feel how she feels.
In addition to the soundtrack build up, just before Lady Dedlock faints, the camera focuses on the letter in an extreme close up point of view shot, again putting the audience in her position, at this point, the soundtrack is at it’s peak and an editing technique is used to put the shot in slow motion showing the audience that Lady Dedlock’s head is clouded and gives the audience the experience what she is going through as she is about to faint.
The last shot of the first scene is a close up on Mr Tulkington’s face. Slow motion is used on this shot to linger on his face and force the audience to focus on his shifty expression, showing them that there’s something not quite right about the character. It also gives high contrast to the scene that follows where the first shot is sped up as it zooms into a close up of this new character as he enters a room. This technique makes it feel like the audience is being ‘sucked in’ to the action.
This scene has a much faster pace than the previous, it uses a lot of close ups and extreme close ups that focus on the character’s facial expressions and the action happening in his hands. There is also a lack of continuity which speeds up the pace and fills the scene with action. The effect of this puts a lot of emphasis on the frantic, panicky state of mind of the character which builds tension as the audience are again put in his position and are made to feel the panic and rush he feels. There is also no dialogue in this scene to explain to the audience what is happening or why the character is in such a manic mentality which creates mystery making the viewer want to watch on to find out why his actions are so rash.
In comparison to the previous scene the lighting in this set is much warmer, with an orangey brown tone. This shows the high contrast between the two different settings. It could connote that this place is a safe place, or it could be reflecting the contrast between social class, as blue is a rich royal colour whereas brown is much more common. This simply shows the audience the contrast between the two scenes.