Target audience

Each film produced has to be given an age certificate. This controls what age people have to be to view the film due to certain content.

U Universal –

Suitable for all

It is impossible to predict what

might upset any particular

child. But a ‘U’ film should be

suitable for audiences aged four

years and over. ‘U’ films should

be set within a positive moral

framework and should offer

reassuring counterbalances to

any violence, threat or horror.

If a work is particularly suitable

for a pre-school child to view

alone, this will be indicated in

the Consumer Advice.

Discrimination

No discriminatory language or behaviour unless

clearly disapproved of.

Drugs

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.

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.

PG Parental Guidance –

General viewing, but some

scenes may be unsuitable

for young children

Unaccompanied children of

any age may watch. A ‘PG’

film should not disturb a child

aged around eight or older.

However, parents are advised

to consider whether the content

may upset younger or more

sensitive 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).

12A/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 content.

Suitable only for 15 years

and over

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.

Suitable only for adults

No-one younger than 18 may

see an ‘18’ film in a cinema.

No-one youngerthan 18 may

rent or buy an ‘18’ rated video.

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.

As i group we decided the certificate we would give to our film noir would be 15. We felt the film noir would be targeted at our age and above which was the most suitable option.

History of film noir

The history of film noir.

The 1940’s
The 1940s and 1950s are generally regarded as the "classic period" of American film noir. While City Streets and other pre-WWII crime melodramas such as Fury (1936) and You Only Live Once (1937)—both directed by Fritz Lang—are categorized as full-fledged noir in Alain Silver and Elizabeth Ward's film noir encyclopedia, other critics tend to describe them as "proto-noir" or in similar terms. However ‘Stranger On The Third Floor’ may well now be the prime candidate for the ‘first film noir’.

Most of the film noirs of the classic period were similarly low- and modestly budgeted features without major stars—B movies either literally or in spirit. In this production context, writers, directors, cinematographers, and other craftsmen were relatively free from typical big-picture constraints. There was more visual experimentation than in Hollywood filmmaking as a whole: the Expressionism now closely associated with noir and the semi documentary style that later emerged represent two very different tendencies. Narrative structures also tended to be more pliable, sometimes involving convoluted flashbacks uncommon in non-noir commercial productions. In terms of content, enforcement of the Pruduction code ensured that no movie character could literally get away with murder or be seen sharing a bed with anyone but a spouse; within those bounds, however, many films now identified as noir feature plot elements and dialogue that were—in some cases, still are—risqué.

Some critics regard classic film noir as a cycle exclusive to the United States; Alain Silver and Elizabeth Ward, for example, argue, "With the Western, film noir. shares the distinction of being an indigenous American form...a wholly American film style. Others, however, regard noir as an international phenomenon. During the classic period of film noir, America as not the only country producing such films, France were too.

Analysis of opening film sequence.

For the next task we had to choose an opening sequence of a film noir to analyze. I chose the opening part of Se7en.

The clip displayed here is what i watched and used, however i only analysed the from the beginning until 4:08.

The clip opens with a man within his kitchen, getting ready for, as it seems, work.

The man is extrememley smart and immediately we identify him as having a majorly important job.

Straight away we see the mans back and the setting here is a smart, clean kitchen, we see the cleanness

of the room, before the characters face. While the man is in the kitchen, getting sorted, in the background you can

hear the busy traffic outside. You immediately relate this to a city; a typical setting for a stereotypical film

noir. The camera shot is taken from above the table alined with objects this man needs for his job.

The way he picks them up one by one, handling them with care and placing them in their given area, indicates how serious he is.

All these elements in the first few seconds help us to identify the mans personality, lifestyle and occupation to an extent.

The sequence immediately cuts to another scene when the man reaches for the light turning it off. Here we see a body lying on

a floor covered in blood. Bodies, death and blood are the common elements of a film noir. Immediately we can identify that

a crime has taken place, crimes and investigations are the main elements of the story line within a film noir.

The camera shot is a crane as it lifts up higher and high

to show more and more of the body. While this is happening we can't see, but can hear a man talking, no doubt a detective

or policeman. The camera cuts to show the man we previously seen investigating the crime scene. We now know

his occupation is a detective and this is his next case. The house is very dark and dingy. Within film noirs due to my research

the common settings used are urban areas and places without much money invested within them, normally owned

by those who commit the crime. The lighting is very dull and the scenes used up to this point have all been pretty dark,

this is a common element of visual style within film noirs. A still shot takes place where the camera does not move

and the character walks towards it, showing the man exploring the room, taking in every single detail.

Next we see a deep shot where we see one man clearly and past him, in the background, we see a faded out character.

We cant see him clearly but we can hear what he has to say. The conversation carries on between the two man

however the shot type changes to shot reverse shot, this is where it shows one person talking, then cuts to the next, and back and forth.

The camera follows the turn taking involved in the conversation.

As another detective is introduced, the camera does not move from seeing one walk away to seeing one come into

the house up the stairs. The shot then cuts to the other detectives response when he states who he is and why he's been sent there.

When they leave the area, the camera is outside standing still to watch them walk through the door behind

a stretcher with the body upon. The camera seems to be situated below them, a low angle shot, looking up at the characters,

giving them some sign of indication that they are important. While they are stood outside you can hear them talking, diagetic sounds

and non diagetic sounds, the sirens and traffic in the background which we cannot see. The camera then stays situated at the same

level but pans across the screen from right to left following them as they walk along the street, still looking

up at them not showing their full body, more of a medium shot of them both. We see the street is rather small, involves back alleys;

these are the typical settings that state a film is a film noir. The camera stops still when they do to continue their

conversation so you can focus on what is being said. You can see people walking behind them and in front of the camera to

create the busy atmosphere; make it seem all the more realistic.

The scene then cuts from there to another; Detective Summerset within his own room, in bed. The sounds heard are the noises down

in the street below, these are non diagetic sounds. An establishing shot takes place where the reaches to place

his glasses by the bed and the camera zooms in on this to see exactly what he's putting down and when he touches another object

so let you know exactly what it is, emphasize detail. The camera gradually moves forward towards the man sat in bed, from being far away seeing the full room nearly

to be right up close showing the mans face expression. The shot cuts from the ticking object, back to the man, back to

the ticking object and so on. The ticking gets louder the closer the man becomes. A soundtrack can be heard in the background vaguely, a low

tune, rather quiet. This quietens down and fades by around 4 minutes before a huge bang is heard which creates suspense and kicks

off the start of the credits; the introduction of the soundtrack.

Mind map on film noir

Me and the rest of my group created this mind map as one of our first tasks. We were told to research the key features of a film noir and how it can be signified as a film noir looking at the typical characters, story lines and settings. This enabled us to ensure that we understood fully what a film noir contains and would help us further down the line to piece together our own short opening sequence including the specific elements of a film noir.

My first post.

For this current project we are creating the opening sequence of a horror or film noir. I have joined up with Jennifer Newcombe, Sam Kidson and Amy Adair as my group partners. We all decided that we would like to create the opening sequence of a film noir.