Film certificates

Learning objective: to understand the purpose of film certification and to apply your understanding to your own thriller film.

Lesson outcomes: Students will understand what a film certificate is and explain its purpose with detail and their own knowledge.

Film censorship is the age rating for films (target audience)

Film certificates

Universal, suitable for audiences aged 4 years and over. Check with consumer advice before allowing under 4's to view this film.

Discrimination
No discriminatory language or behaviour unless

clearly disapproved of.

Drugs

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.

Discrimination

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.

some examples of U's are :

Toy Story 3 2010          

Shrek Forever After 2010

Up 2009 

WALL-E 2008

Parental Guidance - General Viewing, but some scenes may be unsuitable for young 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).

Some examples of a PG:

Kung Fu Panda 2008

Harry Potter and the Prisoner of Azkaban

Back To The Future

The Lord Of The Rings - The Fellowship Of The Ring



12A with Parental Guidance - 12A means that the BBFC have classified the film unsuitable for children under 12. However, they may still watch the film, as long as they are accompanied by someone over 18 at all times during the showing. Advice is given regarding the content of the film and the ADULT must decide if it is appropriate for the accompanying under 12.

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.

Some examples of a 12 :

The Lord Of The Rings - The Return Of The King 2003

The Bourne Ultimatum 2007

The Dark Knight 2008

Star Trek 2008



15 - Suitable only for persons of 15 years and older. Please note: proof of age may be required.

 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.

Some examples of a 15 :

The Matrix 1999

Gladiator 2000

Slumdog Millionaire 2009

The Hangover 2009

18 - Suitable only for persons of 18 years and older. Please note: proof of age may be required

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’.

Some examples of a 18:

Seven 1995 

Fight Club 1999

Saw 2004

Law Abiding Citizen 2010

These divisions have employed from nearly 85 years of censorship.

Censoring films started to be used during  the 90's. There have been laws set by the BBFC (British Board of Film Classification) about what is allowed to be shown on a television. There are guidelines that film makers have to follow whilst making a film. As i am making a thriller film i need to be aware of these guidelines.

My own production can fall into a 12A or a 15 for the reason of that there is not a lot of blood or bad language and also because it doesn't show anything, for example it uses the kulshov effect to show the baby is missing.

Narrative theory

Lesson objective: To be able to show an understanding of what Narrative theory is.

Lesson outcomes
All: will be able to describe the different points of the theory (E)
Most: will be able to explain the different theories with appropriate examples (C)
Some: will be able to use media language effectively to discuss the purpose of narrative theory with a variety of examples (A)

Narrative convection's

·         Genre

·         Character

·         Form

·         Time

We use the knowledge of these conventions to help us interpret the text. In particular, Time is something that we understand as a convention - narratives do not take place in real time but may telescope out (the slow motion shot which replays a winning goal) or in (an 80 year life can be condensed into a two hour biopic). Therefore we consider "the time of the thing told and the time of the telling." (Christian Metz Notes Towards A Phenomenology of Narrative).

It is only because we are used to reading narratives from a very early age, and are able to compare texts with others that we understand these conventions. A narrative in its most basic sense is a series of events, but in order to construct meaning from the narrative those events must be linked somehow.

Vladmir Propp- Russian critic published his Morphology of the folk tale in 1928.

Characters according to Propp, have a narrative functions; they provide a structure for the text. Soviet cinema produced excellent films.


Characters that perform a function

The Hero- a character that seeks something
The villain- who opposes or actively blocks the hero's quest
The donor- who provides an object with magical properties
The dispatcher- who send the hero on his/ her quest via a message
The false hero- who disrupts the hero's success by making false claims
The helper- who aids the hero
The princess- acts as the reward for the hero and the object of the villains plot
Her father- who acts to reward the her for his effort


Actions as functions of narrative

Preparation
- A community/ kingdom/ family is in an ordered state of being
- A member of the community/ kingdom/ family leaves home
- A warning is given to the leaders of the community or a rule is imposed on the hero
- The warning is discounted/ the rule is broken
- The villain attempts to discover something about the victim of the broken rule
- The villain tries to deceive the victim to gain advantage
- The villain unwittingly helps the villain

During this preparation there is a complication, transerfance, stuggle and return. The complcation could be the villain harming a member of the community/ kingdom/ family. The transferance could be when the hero leaves home. The stuggle could be between the hero and the villain. The return is when the hero returns. recognition is when the hero is recognised or the false hero is punished.

a example of this theory is sherk

 this is because they all fill the character slot what propp think a narrative has to have. to support my example i used propps character list to work for this film.

The Hero- Shrek

The villain- normal People and Lord Farrqued

The donor- Donkey

The dispatcher- Lord farqued

The false hero- Lord Farqued

The helper- Donkey

The princess- princess

Her father- true love

i tried to use this for my own production 

The Hero- Baby sitter

The villain- clown

The donor- herself

The dispatcher- herself

The false hero- ________

The helper- __________

The princess- the baby

Her father- the baby mum and dad

as you can see the propp theory don't really work for my own production and in my research I have found it don't work for any horrors or thrillers because the "hero" sometimes dies or Fails.  

Todorov Theory

Tzvetan Todorov simplified the idea of narrative theory whilst also allowing a more complex interpretation of film texts with his theory of Equilibrium and Disequilibrium.

The theory is simple;

The fictional environment begins with a state of equilibrium (everything is as it should be)

It then suffers some disruption (disequilibrium)

New equilibrium is produced at the end of the narrative

There are five stages the narrative can progress through:

A state of equilibrium (all is as it should be)

A disruption of that order by an event

A recognition that the disorder has occurred

An attempt to repair the damage of the disruption

A return or restoration of a NEW equilibrium

a example of this is

is this film the equilibrium is perfect both main characters family's are good as they should be, the disruption is when 2 thugs kill Gerard Butler family raping his wife and 10 year old daughter, people recognize this and take them to court but only one goes to death row, his attempt to make think right is taking vengeance on the people who didn't help to their fullest, after he kills his self and Jamie Foxx learns a lesson from him no hes a better person and family man.

relate this this theory to my own production i know it works, to support this

A state of equilibrium (all is as it should be) - babysitting as normal

A disruption of that order by an event - freaky clown object 

A recognition that the disorder has occurred - that its real

An attempt to repair the damage of the disruption - saving the baby

A return or restoration of a NEW equilibrium - the clown is killed/ caught 

i think this theory is better and work for nearly all the films.

Mise-en-Scene

Objective: To be able to show an understanding of how mise-en-scene is used to create meaning

Outcome:

All: will be able to explain one element of mise-en-scene

Most: will be able to identify the 5 elements of mise-en-scene with some examples

Some: Will be able to identify the 5 elements of mise-en-scene and will also be able to use media language effectively to explain examples

Mise-en-Scene (MeS) is a French term meaning ‘what is put into the scene or frame’. What is put into or left out of a frame can make a big difference to how we receive the film and how we are supposed to feel.

The elements of mise-en-scene are an indicator of the genre of the film and as an audience we have expectations of the mise-en-scene depending on the genre.

The elements within MES include;

1. setting and props
2. costume, hair and make-up
3. facial expressions and body language
4. lighting and colour
5. positioning of characters & objects within a frame

·                     SETTINGS & PROPS

Settings used in a film are rarely just backgrounds to the characters and sometimes we see settings with no action taking place. Filmmakers can choose to build a set from scratch in a studio. Alternatively a lot of time and effort is put in by a location manager to find a setting that already exists.

Props is the term given to objects in a scene and are usually used to help the narrative or to follow the generic conventions of a film.

·                     COSTUME, HAIR & MAKE-UP

Costume plays a large part because it can indicate a character’s personality, social status and job. It tells us when the film is set and in what culture.

MAKE-UP

Make-up in the early days of cinema was used to highlight facial features, as black and white film stock could not register detail very well.

·                     Facial Expressions & Body Language

Facial expressions are a clear indicator of how a person feels. The filmmaker may use a character’s eyes to draw our attention to something or a slight change in a character’s face can tell us something has happened.

Body Language also indicates how we are thinking and feeling. Everyone is different but we recognise common features such as shaking a fist means anger, or curling into a ball to protect ourselves.

·                     Lighting

Lighting can help to give a scene a realistic look (high key) or a dramatic look (low key). It can also be used to highlight particular objects, characters or to change a character’s appearance.

·                     COLOUR

Colour has connotations associated with it and can be used to create a mood and atmosphere.

Connotation= the secondary meaning of a word

-Yellow=

-Blue=

-White=

-Green=

-Black=

-Red=

Denotation= the first meaning of a word

·                     POSITIONING OF CHARACTERS & OBJECTS WITHIN A   
           FRAME

Positioning can indicate the importance of a person or object. If a character is positioned in the foreground we know to assume they have some importance in the scene. Also the positioning of objects can direct our attention to a particular area.