VISIONS OF ECSTASY is a 19 minute short film, featuring a sequence in which a figure representing St Teresa of Avila interacts sexually with a figure representing the crucified Christ. When the film was originally submitted to the BBFC in 1989, for video classification only, the Board refused to issue a classification certificate. This decision was taken on the grounds that the publication of the film, which the issue of a BBFC certificate would permit, might constitute an offence under the common law test of blasphemous libel.

The Board is required, as part of the terms of its designation under the Video Recordings Act 1984, to seek to avoid classifying any work that might infringe the criminal law. Therefore, the Board had no alternative at the time but to refuse a classification. The Board’s decision to refuse a classification to the film was subsequently upheld by the independent Video Appeals Committee.

In 2008, section 79 of the Criminal Justice and Immigration Act abolished the common law offences of blasphemy and blasphemous libel. This means that the BBFC is no longer entitled to consider whether the publication of the film might comprise a blasphemous libel.

The BBFC has carefully considered VISIONS OF ECSTASY in terms of its current classification Guidelines. These reflect both the requirements of UK law and the wishes of the UK public, as expressed through regular large scale consultation exercises. With the abolition of the offence of blasphemy, the Board does not consider that the film is in breach of any other UK law that is currently in force. Nor does the Board regard the film as likely to cause harm to viewers in the terms envisioned by the Video Recordings Act.

The Board recognises that the content of the film may be deeply offensive to some viewers. However, the Board’s Guidelines reflect the clear view of the public that adults should have the right to choose their own viewing, provided that the material in question is neither illegal nor harmful. In the absence of any breach of UK law and the lack of any credible risk of harm, as opposed to mere offensiveness, the Board has no sustainable grounds on which to refuse a classification to VISIONS OF ECSTASY in 2012. Therefore the film has been classified for video release at ’18′ without cuts.

END

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to editors

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

Rejection cases
Recent media reports have repeated the mistaken claim that the BBFC has only ever refused classification to 11 works. Over the Board’s entire 99 year history, the true figure is approaching 1,000 such decisions. Many of these decisions date from the early years of the Board. In more recent years, the Board has typically refused classification to 1-2 works a year.

The British Board of Film Classification (BBFC) has added BT Vision to the roster of platforms that use the BBFC.online classification service.

From January 2012, BT Vision subscribers will see the same classification symbols and content information next to films as those the BBFC provides for cinema releases and DVDs. A BT Vision and BBFC co-branded electronic black card, similar to those UK cinemagoers see before theatrical releases, will also be run before each film begins.

David Cooke, Director of the BBFC, said ‘We’re delighted to welcome BT Vision to our BBFC.online service. Parents have told us it’s important for them to see the classification symbols they recognise before they download or stream a film for family consumption. We asked parents for their views and 82% said they would prefer to download films that are classified with the trusted BBFC symbols and Consumer Advice.’

Jacob Ahlin, Head of Film said ‘BT Vision are delighted to become a member of the BBFC, enabling us to clearly label the hundreds of blockbuster and classic films, which are available on BT Vision and giving our customers peace of mind when choosing what to watch with their family.’

BBFC.online was launched in 2008 to provide the BBFC’s trusted and recognised classifications, category symbols and Consumer Advice to set-top box, video-on-demand and online content providers. The BBFC worked closely with the home entertainment industry to develop the voluntary regulatory service to bring the benefits of the DVD classification system to digital content that is delivered online.

BT Vision join other key industry members working with the BBFC including Walt Disney Studios Home Entertainment Europe, Warner Bros., 20^th Century Fox, Paramount and platforms including BlinkBox, Picturebox and Talk Talk, bringing the total number of members to 34.

END

Press Enquiries: Catherine Anderson:      canderson@bbfc.co.uk
Press office:  0207 440 3285
Out of Hours Mobile:   07946 423719

Notes to Editors

1. The BBFC.online scheme includes console-style games which are supplied to the customer via download.

2. The research referred to is On-line Media Regulation carried out by Bernice Hardy in June 2011

3. The BBFC’s legal advice is that works supplied by ‘non-physical’ means (eg by streaming or download) are not covered by the Video Recordings Act 1984.

4. Membership of the Scheme is voluntary and by subscription and there is no cost to consumers.

5. BBFC.online is ‘Platform Neutral’ – it is designed to cover all forms of digital content delivery (eg web, set top boxes, hand-held devices and mobile phones).

6. BBFC.online complies with the self regulatory model advocated by ATVOD.

About BBFC

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

The British Board of Film Classification (BBFC) has added TalkTalk to the BBFC.online classification service.

TalkTalk will launch YouView in Spring 2012, and subscribers viewing film content will see the same classification symbols and content information as those the BBFC provides for cinema releases and DVDs. The BBFC’s information will make it easier for consumers to make informed decisions about the films they and their families watch.

David Cooke, Director of the BBFC, said ‘We’re delighted to add TalkTalk to our BBFC.online service. Parents have told us it’s important for them to see the classification symbols they recognise before they stream a film for family consumption. We asked parents for their views and 82% said they would prefer to download films that are classified with the trusted BBFC symbols and Consumer Advice.’

Max Alexander, Director of TV at TalkTalk, said ‘It’s important that our customers trust the suitability of content they are about to watch and this agreement with the BBFC gives them what they want. Working with the BBFC shows our ongoing commitment to ensure that we help protect our customers across all products and services they use with us.’

BBFC.online was launched in 2008 to provide the BBFC’s trusted and recognised classifications, category symbols and Consumer Advice to set-top box, video-on-demand and online content providers. The BBFC worked closely with the home entertainment industry to develop the voluntary regulatory service to bring the benefits of the DVD classification system to digital content that is delivered online.

TalkTalk joins other key industry members working with the BBFC including Walt Disney Studios Home Entertainment Europe, Warner Bros., 20^th Century Fox and platforms including BlinkBox and Picturebox, bringing the total number of members to 33.

END

Notes to Editors

1. The BBFC.online scheme includes console-style games which are supplied to the customer via download.

2. The research referred to is On-line Media Regulation carried out by Bernice Hardy in June 2011

3. The BBFC’s legal advice is that works supplied by ‘non-physical’ means (eg by streaming or download) are not covered by the Video Recordings Act 1984.

4. Membership of the Scheme is voluntary and by subscription and there is no cost to consumers.

5. BBFC.online is ‘Platform Neutral’ – it is designed to cover all forms of digital content delivery (eg web, set top boxes, hand-held devices and mobile phones).

6. BBFC.online complies with the self regulatory model advocated by ATVOD.

About the BBFC

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

Press Enquiries: Catherine Anderson:      canderson@bbfc.co.uk
Press office:  0207 440 3285
Out of Hours Mobile: 07946 423719

The British Board of Film Classification (BBFC) is marking its 100^th year in 2012 by resurrecting its historical Theatrical Black Cards. Beginning in January cinema-goers across the UK will see updated versions of the vintage Black Cards ahead of all 2012 theatrical releases. The six retro designs based on those used in 1913, the 1940s, 1960s, 1970s, 1980s and the present day will be released as a series with each design appearing for two months at a time.

The first ‘retro’ card to be show in cinema’s in 2012 will be based on the 1912 theatrical card, first shown in 1913.

Other activities taking place to mark the BBFC Centenary year include a film season at BFI Southbank; an exhibition about the history of the BBFC; and a Centenary book mapping 100 years of film classification and controversy.

David Cooke Director of the BBFC says: ‘The BBFC’s Centenary is a chance for us both to look forward and to celebrate our past. We are constantly striving to develop new services; provide the public with fuller, richer information; and to improve our efficiency. At the same time, we recognise our duty to explain our history, and we do a lot of this, particularly with schools and teachers. The retro Black Cards are a way of celebrating our history. I think they’re pretty stylish too’.

Established as the British Board of Film Censors in 1912, the BBFC was designed by the film industry to ensure uniformity in film classification and was a reaction to the 1909 Cinematographers Act whereby all Local Authorities had the power to provide or withhold licenses for cinemas in their area.

Areas of notable interest in the Board’s history include T.P. O’Connor’s 1916 list of 43 grounds for deletion, intended as a guide for Examiners; the shifts in public opinion and changes in the law over the decades; and the classification of various controversial films from Straw Dogs and A Clockwork Orange to the ‘video nasties’ of the 1980s.

Today the British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers under the Video Recordings Act (1984).

END

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to Editors

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

History of the BBFC

Key moments in the history of the Board include:

• 1912 The British Board of Film Censors is established by the film industry to ensure uniformity in film classification.
• 1932 The ‘H’ classification is introduced to mark out Horror themes that might be inappropriate for children.
• 1952 Changes to the Cinematographers Act in 1952 resulted in the ‘X’ classification, the first age-restricted classification which prevented children under 16 seeing any ‘X’ rated film at the cinema.
• 1970 The ‘X’ age restriction was raised to 18 and the ‘U’ for Universal, ‘A’ for Advice and ‘AA’ certificates were introduced, with any one under 14 prevented from seeing an ‘AA’ rated film.
• 1982 The BBFC certificates were refreshed with the introduction of ‘PG’ , ‘15’, ‘18’ and ‘R18’ classifications. The first film to be passed PG was ‘Return of the Soldier’.
• 1984 The Video Recordings Act (VRA) was passed following the arrival of video in the UK.  The BBFC was named the designated authority for classifying videos by Parliament and was re-named the British Board of Film Classification.
• 1989 Tim Burton’s Batman was the first film to receive a ‘12’ Classification in the UK. Children under 12 were not permitted to see a ‘12’ film at the cinema and the category was for theatrical release only.
• 1994 An amendment was made to the VRA in the wake of the Jamie Bulger murder case. The BBFC was asked to ‘pay special regard to any harm that may be caused to potential viewers… or society…’ in any given video or video game.
• 2002 Following an extended period of consultation, the ‘12’ certificate for cinemas is replaced with the advisory ‘12A’. The first film to sport the new certificate is ‘The Bourne Identity’.

Rejection cases
Recent media reports have repeated the mistaken claim that the BBFC has only ever refused classification to 11 works. Over the Board’s entire 99 year history, the true figure is approaching 1,000 such decisions. Many of these decisions date from the early years of the Board. In more recent years, the Board has typically refused classification to 1-2 works a year.

Parents and guardians can ‘call the shots’ on what films their children see this Christmas by using the British Board of Film Classification (BBFC) App to check film classification ratings and information when they purchase DVDs as presents or select films for younger children to watch on Video On Demand services over the Christmas period.

This Christmas entertainment retailers expect to sell at least 32.2m Videos on Blu-ray and DVD[i] destined to be given as presents, reflecting a surge in new film content being introduced to households.

The BBFC free App is available on iPhone and Android devices and lets users check the latest film and DVD classification decisions from the BBFC. A useful tool for parents and guardians, the App gives instant access to the classification, running time and detailed information about why a film or DVD got the classification it did.

David Cooke, Director of the BBFC says: “We designed the App to equip parents with the tools they need to make informed decisions about the films their children see, whether they are watching a new film at the cinema or on DVD. The Christmas period is often a time when children and their older siblings receive DVDs as gifts and we hope the App will make it easier for parents to decide what is suitable for their children.”

All BBFC film classification decisions come with Extended Classification Information (ECI) which, in the case of cinema films, is available on the App 10 days before the film opens.  ECI explains the classification issues in any film, enabling users to make informed decisions about what they or their family watch.

The BBFC App is available for Android, iPhone 4, iPhone 3GS, iPhone 3G and iPod touch. To download the App, search for “BBFC” in the App Store or click on the links below to open the App Store directly.

Android: https://market.android.com/search?q=BBFC&so=1&c=apps

iPhone: http://itunes.apple.com/gb/app/bbfc/id417274466?mt=8

END

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to editors

The BBFC is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

www.bbfc.co.uk

The video game Call of Duty: Modern Warfare 3 has been given an ‘18’ classification by the BBFC. The BBFC is aware that some comparison has been drawn between the action in the game and terrorist attacks on the London Underground in July 2005. However, a full examination of the game makes clear that the storyline is far removed from these real events.

The game is a continuation of the Call of Duty Modern Warfare franchise, with characters returning from the previous instalment in a continuing narrative. The game includes a level set in a fictional London in which Special Forces soldiers chase enemy Russian mercenaries through London Underground tunnels as the mercenaries attempt to escape on a train. The train, which contains no civilian passengers, crashes beneath Westminster Underground Station and the battle continues through the station up to street level.

David Cooke, Director of the BBFC says, “In reaching its decision the BBFC has given careful consideration both to the depiction of action on the Underground and elsewhere in London and the context in which that action takes place.  The game neither draws upon nor resembles real terrorist attacks on the Underground. Nevertheless, the location of the action in familiar London settings, both above and below ground, establishes a context within which the tone and impact of the work may, for some, be more unsettling, and upsetting, than in previous games in the series. The Board’s decision to restrict the game to adults primarily reflects some moments of strong violence, but also takes account of these contextual elements.”

The BBFC is satisfied that Call of Duty : Modern Warfare 3 contains no material that requires restriction beyond the ‘18’ classification. The Guidelines at ‘18’ accept the principle, repeatedly endorsed by the public, that adults should be free to choose their own entertainment in the absence of legal issues or material which raises a risk of harm. The BBFC has no legal power to refuse classification solely on the grounds of offence.

END

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to editors

The BBFC is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

Extended Classification Information (ECI): CALL OF DUTY: MODERN WARFARE 3

“CALL OF DUTY: MODERN WARFARE 3 is a combat simulation game in which the player takes the roles of various members of military units attempting to thwart the plans of a Russian terrorist group. The game was passed ’18′ for strong bloody battle violence.

The player is involved in various gun battles against enemies in different cities around the world. Battles utilise an array of contemporary weapons including automatic rifles, pistols and grenades as well as artillery and tanks. The player can access bladed weapons for stealth attacks and hand-to-hand combat. The battles are intense and conducted from a first-person perspective with impacts registering as bloody splashes. Blood is also seen splashed about the game environment in the aftermath of fighting. Bullet impacts or explosions cannot cause dismemberment however, and there is no opportunity for the player to inflict further damage on enemies that have been killed. The game includes a sequence during which an interrogation victim is set alight, although this is viewed through the scope of a rifle and the detail is limited. The BBFC’s Guidelines at ’15′ state ‘Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable’. In this case there is some dwelling on the infliction of injury in a real world setting which places the game at ’18′.

CALL OF DUTY: MODERN WARFARE 3 includes a level set in a fictional London in which Special Forces soldiers chase enemy Russian mercenaries through London Underground tunnels as the mercenaries attempt to escape on a train. The train, which contains no civilian passengers, crashes beneath Westminster Underground Station and the battle continues through the station up to street level. It is possible for passengers waiting on an Underground platform to be shot, however doing so almost immediately results in a check point restart. The action is firmly focussed on chasing and stopping the mercenaries. Some comparison has been drawn between the action in the game and terrorist attacks on the London Underground in July 2005. However, a full examination of the game makes clear that the storyline is far removed from these real events, neither drawing upon nor resembling real terrorist attacks on the Underground. Nevertheless the location of the action in familiar London settings, both above and below ground, establishes a context within which the tone and impact of the work may, for some, be more unsettling, and upsetting, than in previous games in the series. The BBFC’s decision to restrict the game to adults primarily reflects moments of strong violence, but also takes account of these contextual elements.

The Guidelines at ’18′ accept the principle, repeatedly endorsed by the public, that adults should be free to choose their own entertainment in the absence of legal issues or material which raises a risk of harm.  The BBFC is satisfied that CALL OF DUTY : MODERN WARFARE 3 contains no material that requires restriction beyond the ’18′ classification.

The British Board of Film Classification (BBFC) has rejected the sexually violent DVD The Bunny Game. The film follows a female prostitute who hitches a lift with a truck driver. The truck driver kidnaps the woman, restrains and forcibly strips her, and proceeds to physically and sexually abuse and humiliate her. The abuse of the kidnapped woman takes up the greater part of the film.

The Board’s Guidelines state “A strict policy on sexual violence and rape is applied. Content which might eroticise or endorse sexual violence may require cuts at any classification level. This is more likely with video works than film because of the potential for replaying scenes out of context. Any association of sex with non-consensual restraint, pain or humiliation may be cut”.  The principal focus of The Bunny Game is the unremitting sexual and physical abuse of a helpless woman, as well as the sadistic and sexual pleasure the man derives from this. The emphasis on the woman’s nudity tends to eroticise what is shown, while aspects of the work such as the lack of explanation of the events depicted, and the stylistic treatment, may encourage some viewers to enjoy and share in the man’s callousness and the pleasure he takes in the woman’s pain and humiliation.

David Cooke, Director of the BBFC said: “It is the Board’s carefully considered view that to issue a certificate to this work, even if confined to adults, would be inconsistent with the Board’s Guidelines, would risk potential harm within the terms of the Video Recordings Act, and would accordingly be unacceptable to the public.”

The Board considered whether its concerns could be dealt with through cuts.  However, the pervasiveness of the abuse makes it very difficult to deal with The Bunny Game by means of cuts.  If the company would like to attempt to cut this work in order to submit it in a reduced form, they are entitled to do so, but the Board can offer no assurances that such re-editing would be successful.

The decision to reject The Bunny Game was taken by the Director, David Cooke and the Presidential Team of Sir Quentin Thomas, Alison Hastings and Gerard Lemos. The decision means that the film cannot be legally supplied anywhere in the UK.

END

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to editors

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

Rejection cases

Recent media reports have repeated the mistaken claim that the BBFC has only ever refused classification to 11 works. Over the Board’s entire 99 year history, the true figure is approaching 1,000 such decisions. Many of these decisions date from the early years of the Board. In more recent years, the Board has typically refused classification to 1-2 works a year.

UK media regulators joined forces today to launch ParentPort, a new website aimed at helping parents make their views heard on issues relating to inappropriate programmes, adverts, products and services.

ParentPort (www.parentport.org.uk) has been set up to make it easier for parents to complain about material they have seen or heard across the media, communications and retail industries.

The website has been jointly developed by the Advertising Standards Authority (ASA), the Authority for Television On Demand (ATVOD), the BBC Trust, the British Board of Film Classification (BBFC), the Office of Communications (Ofcom), the Press Complaints Commission (PCC) and the Video Standards Council (VSC)/Pan-European Game Information (PEGI).

It has been created in response to Reg Bailey’s Independent Review of the Commercialisation and Sexualisation of Childhood*, which recommended that regulators should work together to create a single website to act as an interface between themselves and parents.

ParentPort provides straightforward information on what parents can do if they feel they have seen or heard something inappropriate for their children. The site makes the process of making a complaint easier by directing parents to the right regulator for their specific area of concern.

The website also provides a ‘Have Your Say’ section, which allows parents to provide informal feedback and comments which regulators will use as an extra gauge of parental views. There’s also advice on how to keep children safe online and what parents can do about other products like clothing and the display of magazines in shops.

Speaking at a No.10 summit today on the progress being made against Reg Bailey’s recommendations, Chief Executive of Ofcom, Ed Richards, said: “Seven UK media regulators have come together to develop a single website, with a single aim – to help protect children from inappropriate material.  Each regulator shares this common purpose and is committed to helping parents make their views and concerns known. We have already tested the website with parents and the feedback has been positive. We will keep listening to parents and intend to develop the site in light of further feedback.”

Reg Bailey, Chief Executive of Mothers’ Union, said: “I am really encouraged that all the regulators have got together to produce ParentPort in a relatively short time since my review. This will be one place where parents can make their voices heard and tell businesses and broadcasters if they feel they have overstepped the line in what is appropriate for children. Parents told me that they often didn’t know who to complain to or whether anything would be done as a result of their complaint. Parents are the best judges of what is acceptable for children so it’s important we all take their views more seriously.”

Children’s Minister, Sarah Teather, said: “I am looking forward to seeing what parents say on the ParentPort website. This will be an important tool in informing companies and regulators of what is acceptable for children. That way we can all work together to make our society a bit more family friendly.”

* Letting Children Be Children: the Report of an Independent Review of the Commercialisation and Sexualisation of Childhood was published on 6 June 2011.

ENDS

NOTES FOR EDITORS

1. ParentPort has been developed in collaboration with seven UK regulators. These are the Advertising Standards Authority (ASA), the Authority for Television On Demand (ATVOD), the BBC Trust, the British Board of Film Classification (BBFC), the Office of Communications (Ofcom), the Press Complaints Commission (PCC) and the Video Standards Council (VSC)/Pan-European Game Information (PEGI).

 Advertising Standards Authority

The Advertising Standards Authority (ASA) is the UK’s independent regulator of advertising across all media. It applies the Advertising Codes in the public interest and with the co-operation of advertisers, agencies and media owners to ensure that advertising is legal, decent, honest and truthful. The ASA acts independently of both the Government and the advertising industry.

Authority for Television On Demand

The Authority for Television On Demand (ATVOD) regulates editorial content (programmes) on over 140 video on demand services available online, via set top boxes, on mobile phones, or via internet connected TVs. For further information, please visit www.atvod.co.uk

 BBC Trust

The BBC Trust is the governing body of the BBC. It represents the interests of licence fee payers. Its Trustees are responsible for setting the high-level strategy for the BBC so that it delivers the six public purposes set out in the BBC’s Charter, as well as for defending the Corporation’s independence from political or commercial interests. It is responsible for holding the BBC to account for value for money. It also sets the ultimate standards for programme making in the organisation and ensures the corporation lives up to them, both through oversight of the BBC’s editorial guidelines and by deciding complaints on appeal.

 British Board of Film Classification

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

 Ofcom

Ofcom is the independent regulator and competition authority for the UK communications industries, with responsibilities across television, radio, telecommunications and wireless communications services. For further information about Ofcom please visit: www.ofcom.org.uk.  Ofcom’s news releases can be found at: www.ofcom.org.uk/media

 Press Complaints Commission

The Press Complaints Commission (PCC) is an independent body which administers the system of self-regulation for the press. It does so primarily by dealing with complaints, framed within the terms of the Editors’ Code of Practice, about the editorial content of newspapers and magazines (and their websites, including editorial audio-visual material) and the conduct of journalists. It can also assist individuals by representing their interests to editors in advance of an article about them being published.

 Video Standards Council

The Video Standards Council (VSC) was established in 1989 as a body set up to develop and oversee a Code of Practice designed to promote high standards within the video/DVD industry.  The Code was subsequently expanded to promote high standards within the video games industry.  The VSC has established staff training guidelines for retailers and others responsible for supplying videos, DVD and video games to the public to ensure that age-restricted media is not made available to under-age purchasers.

Since 1994 the VSC has been responsible for the age-rating of advisory video games under the scheme developed by the European Leisure Software Publishers Association (ELSPA).  This was superseded by the Pan-European Games Information (PEGI) system and since 2003 the VSC has been responsible for administering the PEGI system which now covers the UK and 31 other European countries.  The VSC has more experience in age rating games than any other body in Europe.

For further information about Parent Port, please visit www.parentport.org.uk.

CONTACT

Rhys Hurd, Media Relations:

rhys.hurd@ofcom.org.uk

Tel: 0300 123 4000

The DVD of THE HUMAN CENTIPEDE II (FULL SEQUENCE) has been passed with an ‘18’ classification following 32 cuts made across 8 separate sequences. The cuts total 2 minutes 37 seconds and address all the concerns raised when the Board refused a classification on 6 June 2011, including those relating to sexual violence, graphic gore and the possibility of breach of the law relating to obscenity.

The President, Sir Quentin Thomas, said “When we first examined this work earlier this year we judged that, as submitted, it was unsuitable for classification; and, as we explained to the company, we could not ourselves see how cuts could produce a viable and classifiable work. That remains the view of one of our Vice Presidents, Gerard Lemos, who is therefore abstaining from the Board’s collective decision.

”The company lodged an appeal against our decision to refuse classification. In the course of preparations for that appeal, the company proposed a number of cuts which it was right for us to consider. In response, after further examination, we proposed a more extensive series of cuts. These cuts produce a work which many will find difficult but which I believe can properly be classified at the adult level. The company has now accepted these cuts, withdrawn its appeal and the work has been classified, as cut, at 18.”

In its original letter of 6 June refusing classification, the Board made clear that it was open to the distributor to attempt cuts. The cuts which have now been made are, in the Board’s judgement, necessary if the film is to be classified.

END

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to editors

The British Board of Film Classification (BBFC) is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

The BBFC free App is now available on Android devices. The App lets users check the latest film and DVD classification decisions from the BBFC. A useful tool for parents and guardians, the App gives instant access to the classification, running time and detailed information about why a film or DVD got the classification it did.

All BBFC film classification decisions come with Extended Classification Information (ECI) which, in the case of cinema films, is available on the App 10 days before the film opens.  ECI explains the classification issues in any film, enabling users to make informed decisions about what they or their family watch.

David Cooke, Director of the BBFC says: “We designed the App to equip parents with the tools they need to make informed decisions about the films, videos and video games their children see and play, whether they are visiting the cinema, at home or purchasing a new DVD or video game. The BBFC is the only film classification body to provide detailed Extended Classification Information and we wanted to make this as accessible to parents as possible.”

Each time the App is updated by the user, the classification information is stored on the mobile device making it fully accessible regardless of where the user is, even if they are unable to access mobile internet signal.

The BBFC App is now available for Android, iPhone 4, iPhone 3GS, iPhone 3G and iPod touch. To download the App, search for “BBFC” in the App Store or click on the links below to open the App Store directly.

Android: https://market.android.com/search?q=BBFC&so=1&c=apps

iPhone: http://itunes.apple.com/gb/app/bbfc/id417274466?mt=8

For more information contact Catherine Anderson canderson@bbfc.co.uk 0207 440 3285 (out of hours: 07946 423719).

Notes to editors
The BBFC is an independent, private, not for profit company which classifies films, videos, DVDs and certain video games, advertisements and trailers.  The BBFC operates transparent, well-understood and trusted co-regulatory and self regulatory classification regimes based on years of expertise and published Guidelines which reflect public opinion and the risk of harm; and is accountable to Parliament.

In January 2012 the BBFC App was named in the Sunday Times Top 500 Apps.

THREE KEY ISSUES DOMINATED 2010 FOR BBFC

Sexual violence, strong language and the sexualisation of children were the three dominant classification issues for the BBFC in 2010. At the same time the BBFC continued to work with the industry to develop voluntary content labelling strategies for online and Video On Demand (VOD) content outside the Board’s traditional statutory regulatory role. Announcing the publication of the Annual Report for 2010, David Cooke, Director of the BBFC, said:

“A number of the BBFC’s classification decisions were the subject of public and media debate in 2010. The significant cuts to reduce sexual and sexualised violence in I Spit on Your Grave and A Serbian Film in order to obtain an ‘18’ rating prompted some commentators to suggest that the BBFC had suddenly tightened its policies. In both instances, the decisions were firmly in line with our published classification Guidelines which result from extensive and regular consultation with the public. The ‘15’ and ‘12A’ classifications, given respectively, to two highly praised British films, Made in Dagenham and The King’s Speech, also prompted lively debate in the media about the Board’s language policies. It is clear that the public still expects us to be vigilant on language issues: the distinction between the two films was that The King’s Speech involved an exceptional context, that of speech therapy, for which there was no equivalent in Made in Dagenham.

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The BBFC has rejected the sexually violent, and potentially obscene DVD, The Human Centipede II (Full Sequence) This means that it cannot be legally supplied anywhere in the UK. The decision was taken by the Director, David Cooke and the Presidential Team of Sir Quentin Thomas, Alison Hastings and Gerard Lemos.

The Human Centipede II (Full Sequence) is a sequel to the film The Human Centipede (First Sequence), which was classified ‘18’ uncut for cinema and DVD release by the BBFC in 2010. The first film dealt with a mad doctor who sews together three kidnapped people in order to produce the ‘human centipede’of the title. Although the concept of the film was undoubtedly tasteless and disgusting it was a relatively traditional and conventional horror film and the Board concluded that it was not in breach of our Guidelines at ‘18’. This new work, The Human Centipede II (Full Sequence), tells the story of a man who becomes sexually obsessed with a DVD recording of the first film and who imagines putting the ‘centipede’ idea into practice. Unlike the first film, the sequel presents graphic images of sexual violence, forced defecation, and mutilation, and the viewer is invited to witness events from the perspective of the protagonist. Whereas in the first film the ‘centipede’ idea is presented as a revolting medical experiment, with the focus on whether the victims will be able to escape, this sequel presents the ‘centipede’ idea as the object of the protagonist’s depraved sexual fantasy.

The principal focus of The Human Centipede II (Full Sequence) is the sexual arousal of the central character at both the idea and the spectacle of the total degradation, humiliation, mutilation, torture, and murder of his naked victims. Examples of this include a scene early in the film in which he masturbates whilst he watches a DVD of the original Human Centipede film, with sandpaper wrapped around his penis, and a sequence later in the film in which he becomes aroused at the sight of the members of the ‘centipede’ being forced to defecate into one another’s mouths, culminating in sight of the man wrapping barbed wire around his penis and raping the woman at the rear of the ‘centipede’. There is little attempt to portray any of the victims in the film as anything other than objects to be brutalised, degraded and mutilated for the amusement and arousal of the central character, as well as for the pleasure of the audience. There is a strong focus throughout on the link between sexual arousal and sexual violence and a clear association between pain, perversity and sexual pleasure. It is the Board’s conclusion that the explicit presentation of the central character’s obsessive sexually violent fantasies is in breach of its Classification Guidelines and poses a real, as opposed to a fanciful, risk that harm is likely to be caused to potential viewers.

David Cooke, Director of the BBFC said:

“It is the Board’s carefully considered view that to issue a certificate to this work, even if confined to adults, would be inconsistent with the Board’s Guidelines, would risk potential harm within the terms of the VRA, and would be unacceptable to the public.

“The Board also seeks to avoid classifying material that may be in breach of the Obscene Publications Acts 1959 and 1964 (OPA) or any other relevant legislation. The OPA prohibits the publication of works that have a tendency to deprave or corrupt a significant proportion of those likely to see them. In order to avoid classifying potentially obscene material, the Board engages in regular discussions with the relevant enforcement agencies, including the CPS, the police, and the Ministry of Justice. It is the Board’s view that there is a genuine risk that this video work, The Human Centipede II (Full Sequence), may be considered obscene within the terms of the OPA, for the reasons given above.

“The Board considered whether its concerns could be dealt with through cuts. However, given that the unacceptable content runs throughout the work, cuts are not a viable option in this case and the work is therefore refused a classification.”

Note to Editors

1. Under the terms of the Video Recordings Act, the distributor has the right to appeal to the Video Appeals Committee against this decision within six weeks.
2. The Human Centipede II (Full Sequence) has not been submitted for cinema release.

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Creative Industries Minister Ed Vaizey, today welcomed the BBFC’s new Watch and Rate scheme, which provides classifications for straight to download content, as good for the industry and good for the public.

Speaking after seeing a demonstration of the new scheme, he said:

“The Watch and Rate scheme is a welcome addition to the work done by the BBFC.

“The internet has completely changed the way we access videos and music so it is good to see the BBFC adapting to meet the demands of the online world.

“The BBFC is providing industry with a quick and cost effective classification system for straight-to-download content and the public with an age rating system they trust and understand.

“Age ratings will help parents protect their children from inappropriate content and provide people with more confidence about the content they and their families are watching.”

Since 2008 the BBFC has been working with the UK video industry to provide a content labelling system for film, video and TV content supplied by internet, wireless or mobile signal which the public can trust and understand.  By giving over 200,000 titles a digital classification the BBFC has provided consumers with access to  labelling and content information for a massive ‘back catalogue’ of films and television programmes which are available through video-on-demand, digital rental/sell through, streaming, mobile platforms and connected TV.

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