Dissertation Proposal (Research Methods)

The 18 Certificate

Classification and Censorship in the Modern Cinema

Gemma Jones

Dissertation Proposal

May 1^st 2012

This research project aims to cover the classification and censorship of films, both old, and more recent. It will address two specific questions:

Firstly,how has the ratings system changed since its creation? Looking in depth at how content has changed over the years and what content is deemed ‘necessary’ to get the core message of the film across, as well as how content affects the rating a film is given.

Secondly, are fewer films being rated as an 18 certificate in order to draw younger and more numerous audiences into theatres to see them? Are the more popular and anticipated blockbusters specifically edited so they may be rated 12A or 15 to ensure a greater profit margin for the producers?

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There are numerous reasons for choosing this topic, they include:

• Writing about a topic that is interesting on a personal level will make research easier and more appealing. Because the industry is so vast, this also means there will be a plethora of information available, across many platforms.
• Films have changed dramatically since their early days; comparing those changes will be fascinating and will reveal some interesting insights into how society has changed and the consequential effects a constantly changing society has on films.
• The ratings system plays a large part in the film industry, much more so than it did in its early days. Analysing the history of the American and British ratings systems will help to ascertain its standing and relevance within the current cinematic experience.
• Watching films as part of the research will indicate how content has altered over time.

The answers and information this project aims to fulfil are:

• To gain a better understanding of the ratings system and its history, and current standing in the UK and America.
• Using an online survey, filled in by cross-section of people, both in the UK and abroad will indicate how film content affects a person’s viewing experience. As well as finding out how much attention people pay to the ratings systems and contents guide.
• How has content changed since the beginning of film? Is the content closely related to what is deemed ‘acceptable’ in the current social climate?
• Are fewer 18 rated films being made? By looking at ratings awarded to the more recent films it is easy to see how many of those are rated at 18. This project aims to discover if more films are being specifically made and edited to a 12A or 15 standard, and if so, why?
• At what stage do the BBFC and MPAA refuse to give a film a rating? As what is deemed socially acceptable changes, do fewer or more films get rejected?

A short history.Since 1912, the BBFC (British Board of Film Classification) has been responsible for monitoring and awarding classifications to all films released in cinemas and on DVD in the United Kingdom (BBFC, 2005). Likewise, the American equivalent the MPAA, (Motion Picture Association of America) formed in 1922, is responsible for all releases within the United States (MPAA).

Fig 1 BBFC Logo

Fig 2 MPAA Logo




It is evident that films can be much more controversial now, compared to the early days of cinema. When the BBFC began, in 1912, there were just two ratings, U for universal, and A for adult. Local councils would often put their own conditions or restrictions on films, and film-makers would have to pander to these conditions or face being banned.

Later, in 1916, T.P. O’Connor who was the new appointed president of the BBFC compiled a list of content that would be grounds for deletion. This policy contained 43 stipulations that included the ‘unnecessary exhibition of underclothing’, ‘indecorous dancing’ and ‘the irreverent treatment of sacred subjects’. It wasn’t until 16 years later, in 1932 that a new rating was introduced, H, which indicated horror, and some local councils ruled that no one under 16 years of age could be admitted. These new and much stricter guidelines were put in place to earn the trust of a god-fearing public.

Prior to the formation of the MPAA in 1922, local, city and state censorship boards were responsible for film content. Just like in the UK, film-makers had to tailor their films to the specific requirements of these boards or face being banned. With the introduction of the Hays Code (named after Will Hays, the first MPAA president), film-makers were required to present a ‘correct standard of life’ which meant no lustful kissing, scenes of childbirth, and no criticism of religion. Forty six years later and the modern US ratings system was born, which gives parents and cinema goers comprehensive information about the contents of a film, as well as more artistic freedom to the film makers.

The rating system as it stands is the first port of call for anyone who wants to learn about the content of a film, but often a rating alone can be misleading. You will not see any graphic scenes of sex in a 12A film, however if one of the more harsh expletives is uttered, even just once, the film will be rated at very least a 12A. But it is also clear that despite the guidelines, acceptable content also depends on what’s deemed acceptable in the current climate. Findings stemming from the research will help to understand the relevance of the ratings system in the social climate as it stands. Fewer films are rated 18 in recent years, with 12A and 15 being the more common ratings awarded, this project aims to find out if this is merely a tactic to draw in more numerous audiences to ensure a greater profit margin in the current financial climate. Also, if the majority of films are being awarded lower ratings, does this impede in any way, the creative freedom of the producers and film-makers?

Fig 3 Top Grossing films of 2009 showing that 9 are rated at PG-13 and below.

By using a combination of case studies, along with documented literature from a number of books, papers and websites and evidence from questionnaires and person to person interviews it will be ascertained if there have been substantial changes within the cinematic experience and discover if what viewers are being subjected to has increased over time.

For each of the case studies, remakes of classic films will be taken into consideration, along with a number of ‘banned’ films in order to find out if the content or rating has changed significantly and why the films were banned to begin with. Referencing books, such as: ‘Forbidden Films’ and ‘Banned in America’ will help to compare what is deemed acceptable in the different countries and what content sees them banned at various points in history.

Fig 4 Image of 'Forbidden Films' book.

As for the documented literature, this project will focus on the BBFC and MPAA websites respectively in order to look into the history of each company. As well as referencing a number of relevant and reliable websites, the history of classification and censorship and why it is deemed so important to carefully monitor the contents of the films, whether released recently or long ago. A number of books regarding the subject of censorship and classification have been sourced as evidence as well as a list of ‘banned’ films obtained from the BBFC’s website.

There are fewer banned films in recent times, included is one of the BBFC’s more recent decisions to refuse classification to ‘The Human Centipede 2 – The Full Sequence’ and this is known as rejection. Rejection is when a film is essentially banned, and is refused a classification due to its content. By understanding why these films are rejected will lead to learning more about the BBFC’s work and how it benefits us as viewers, and ensures no one is subjected to anything that might be deemed offensive, or harmful to viewers whether old or young.

Finally, by gathering the opinions and views of peers, friends, family and the public through creating a detailed questionnaire, will demonstrate the viewing habits of the public and how they make use of the rating system and content guide (found on the read of DVD cases) when choosing what films to watch. The questionnaire will also supply an insight into what people find disturbing, or frightening and if they believe some content is ‘necessary’ or mere scare tactics. A link to the survey can be found here: http://kwiksurveys.com?s=LLHDGG_2ae886c3.

Fig 5. Example of content guide displayed on rear of UK DVDs

This questionnaire is based mainly around viewing habits, number of visits to the cinema over a certain period, for example. Those filling in the survey are also asked if they know of the BBFC and MPAA organisations, and the different ratings that have been used throughout history. To gain a better idea of the likes and dislikes of film-goers and viewers, the survey asks for their favourite genres, and aspects of film that they would find most offensive (gore, nudity, racism etc.) and if any of those aspects would stop them from watching a film. Through compiling a list of the films that are considered the most offensive of all time (Dirks, T. n.d. ) the answers collected will shed light on the aspects people find most disturbing, along with the types of films that are most likely to be banned. Those who complete the survey will remain anonymous, however, in order to collate the statistics, the general location, age, sex, and race are optional questions at the close of the survey.

By basing this dissertation on a subject that is current, and relevant, it will speak volumes about the industry that continues to draw in viewers year after year despite the current financial recession. Discovering the viewing habits of others, along with what people find disturbing, together with all the research complied, will provide some fascinating insights into this vast industry.

References.

British Board of Film Classification website. (2010) The SBBFC Student Guide 2005/2006 http://www.sbbfc.co.uk/Assets/documents/sbbfc_online_new.pdf [Electronically accessed 7th April 2012].

Dirks, T. (Date Unknown) The Most Controversial Films of All-Time. http://www.filmsite.org/controversialfilms.html ]Electronically accessed 7^th April 2012].

Motion Picture Association of America website. (2011) History of the MPAA http://www.mpaa.org/about/history [Electronically accessed 7th April 2012].

Sherwin, A. (29th November 2010) DVD Industry in crisis as sales slump. http://www.guardian.co.uk/media/2010/nov/29/dvd-industry-sales-slump-blu-ray [Electronically accessed 7th April 2012].

Images.

Fig 1. BBFC Logo, (2012.) [Image online] Available at: http://i1.cdnds.net/11/41/media_bbfc_logo.jpg [Accessed 7^th April 2012]

Fig 2. MPAA Logo, (2012). [Image online] Available at:

http://www-deadline-com.vimg.net/wp-content/uploads/2011/04/MPAA_Logo_20110404212318.jpg [Accessed 7^th April 2012].

Fig 3. Of the top 10 grossing films of 2009.2010 [Image online] Available at: http://www.onlinemba.com/blog/film-industry-statistics/ [Accessed 7^th April 2012].

Fig 4. Forbidden Films Book Cover (2010).[Image online] Available at: http://ia700804.us.archive.org/zipview.php?zip=/5/items/olcovers61/olcovers61-L.zip&file=614334-L.jpg [Accessed 7^th April 2012].

Fig 5. Content Guide (as displayed on rear of The Lords of Disciple DVD) (n.d.) [Image online] Available at: http://www.michaelbiehn.co.uk/graphics/articles/lords/lords0402.jpg [Accessed 7^th April 2012].