The British Board of Film Censors was set up in 1912 by the film industry as an independent body to bring a degree of uniformity to the classification of film nationally.
Statutory powers on film remain with the local councils, which may overrule any of the Board's decisions, passing films we reject, banning films we have passed, and even waiving cuts, instituting new ones, or altering categories for films exhibited under their own licensing jurisdiction.
The British Board of Film Classification (BBFC) is an independent, non-governmental body funded through fees that it charges when films and video works for classification are submitted. It was set up in 1912 by film industry to bring a degree of uniformity to classifation of film nationally. The BBFC classifies films on behalf of the local authorities who license cinemas under the Licensing Act 2003. The BBFC will not classify material which it believes to be in breach of the criminal law.
The general underlying grounds on which the BBFC exercises the broad discretion conferred on it. There are two guiding principles: That works should be allowed to reach the widest audience that is appropriate for their theme and treatment. That adults should, as far as possible, be free to choose what they see, provided that it remains within the law and is not potentially harmful. When applying these guiding principles, there are three main qualifications: Whether the material is in conflict with the law, or has been created through the commission of a criminal offence. Whether the material, either on its own, or in combination with other content of a similar nature, may cause any harm at the category concerned. This includes not just any harm that may result from the behaviour of potential viewers, but also any ‘moral harm’ that may be caused by, for example, desensitising a potential viewer to the effects of violence, degrading a potential viewer’s sense of empathy, encouraging a dehumanised view of others, suppressing pro-social attitudes, encouraging anti-social attitudes, reinforcing unhealthy fantasies, or eroding a sense of moral responsibility. Especially with regard to children, harm may also include retarding social and moral development, distorting a viewer’s sense of right and wrong, and limiting their capacity for compassion. Whether the availability of the material, at the age group concerned, is clearly unacceptable to broad public opinion. It is on this ground, for example, that the BBFC intervenes in respect of bad language. In assessing legal issues, potential harm or acceptability to broad public opinion, the BBFC takes account of relevant research and expert opinion. However, such research and expert opinion is often lacking, imperfect, disputed, inconclusive or contradictory. In many cases the BBFC must therefore rely on its collective experience and expertise to make a judgement as to the suitability of a work for classification, or for classification at a particular category. There are certain overarching factors that may influence a classification decision at any level and in connection with any issue. These factors are of particular importance when a work lies on the borderline between two categories.
Context
The context in which an issue (such as sex, language or violence) is presented is central to the question of its acceptability. When considering context the following factors, as well as
others, may be taken into account:
• The expectations of the public in general and the work’s audience in particular.
• The work’s genre. For example, a realistic or contemporary approach may intensify the
effect. By contrast a historical or fantasy setting, or comic presentation, may soften
the effect.
• The manner in which an issue is presented. For example, language used aggressively may be dealt with more stringently than the same terms used in a comic way.
• The apparent intention of the film maker, as reflected in its effect. For example, whether • the work is intended to be educational.
• The original production date of the work. For example, outdated attitudes which might be considered offensive in a contemporary work may be treated more leniently in a much
older, and obviously dated, work • Any special merits of the work.
Tone and impact.The overall tone of a work may also affect the classification decision. While the presentation of specific issues, such as sex and violence, may not be problematic at a particular category, if the work has a generally dark or unsettling tone that may
disturb the audience at that category, then it may receive a more restrictive classification. At the junior categories, and on the borderline between categories, such considerations as the degree of fantasy; the level of connection to the real world; and the extent to which the work presents a despairing view of the world or lacks a clear moral perspective may be important factors. The impact of a work (how it makes the audience feel) is also taken into account, for example in relation to horror films where threat may be more significant
than violence.
Release format.
Classification decisions may be stricter on video works than on film. This is on account of the increased possibility of under-age viewing or game playing recognised in the Video
Recordings Act, and of works being replayed or viewed out of context. Accordingly, a video work may occasionally receive a higher classification than on film, or require new or different cuts.
Main Issues.
This section of the Guidelines identifies some concerns which apply, to a greater or a lesser degree, at all classification levels. It sets out the general approach taken with regard
to such concerns, given the general principles set out earlier. The pages following this section provide specific guidance for ‘U’ through to ‘18’ under the heading ‘The Categories’. The guidance there should be read in the light of the more general advice offered here and under ‘Overarching Factors’ and ‘General Principles’.
Discrimination.
Potentially offensive content, relating to such matters as race, gender, religion, disability or sexuality, may arise in a wide range of works, and the classification decision will take account of the strength or impact of its inclusion. The context in which such content may appear also has a bearing on the classification. Works with such content may receive a
less restrictive category where discriminatory language and behaviour is implicitly or explicitly criticised; or the work as a whole seeks to challenge such attitudes, or is obviously dated.
Drugs
No work taken as a whole may promote the misuse of drugs and any detailed portrayal of drug misuse likely to promote or glamorise the activity may be cut. Works which show drug misuse while emphasizing the dangers may receive less restrictive classifications than works that present drug misuse in a neutral manner.
Where smoking, alcohol abuse or substance misuse feature to a significant extent in works which appeal to children. Classification decisions will also take into account any promotion or glamorisation of such activities.
Horror
The use of frightening elements which might scare or unsettle an audience is part of a long tradition of story telling and film making. Many children enjoy the excitement of scary sequences, but, where films are targeted at a younger audience, classification decisions will take into account such factors as the frequency, length and detail of scary scenes as well as horror effects, including music and sound, and whether there is a swift and reassuring outcome.
Older audiences often pay to see horror films because they like being frightened or shocked and such works are classified at an appropriate category to ensure that the young and vulnerable are protected from too intense an experience.
Imitable behaviour
Classification decisions will take into account any detailed portrayal of criminal and violent techniques, and any glamorisation of easily accessible weapons, such as knives. Works which portray anti-social behaviour (for example, bullying) uncritically are likely to receive a more restrictive classification. Works which, taken asa whole, actively promote illegal behaviour will be cut or rejected. Portrayals of potentially dangerous behaviour (especially relating to hanging, suicide and self-harm) which children and young people are likely to copy, will be cut if a more restrictive classification is not appropriate.
Language
Many people are offended, some of them deeply, by bad language. This may include the use of expletives with a sexual, religious or racial association, offensive language about minority groups and commonly understood rude gestures. The extent of that offence may vary according to age, gender, race, background, beliefs and expectations brought by viewers to the work, as well as the context in which the word, expression or gesture is used.
For these reasons, it is impossible to set out comprehensive lists of words, expressions or gestures which are acceptable at each category. The advice at different classification levels, therefore, provides general guidance taking account of the views expressed in public consultation exercises.
Nudity
Natural nudity with no sexual context is acceptable at all classification levels, but will not occur more than occasionally in the lowest category. Nudity with a sexual context will receive a more restrictive classification and strong detail in such a context will only be passed in the adult categories.
Sex
The portrayal of sexual activity can range from kissing and verbal references to ‘making love’, to detail of real sex. This is reflected in the classification system, in which progressively stronger portrayals are allowed as the categories rise. Sex works (works whose primary purpose is sexual arousal or stimulation) are likely to be passed only in the adult categories. 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. ‘R18’ video works may be supplied only in licensed sex shops which no one under 18 may enter.
‘R18’films may be shown only in specially licensed cinemas.These Guidelines will be applied to the same standard regardless of sexual orientation.
Theme
Classification decisions will take into account the theme of a work, but will depend significantly on the treatment of that theme, and especially the sensitivity of its
presentation. However, the most problematic themes (for example, drug abuse, sexual violence, paedophilia, incitement to racial hatred or violence) are unlikely to be
appropriate at the most junior levels of classification. Correspondingly, there is no reason in principle why most themes, however difficult, could not be presented in a manner which
allowed classification at ‘18’ or even ‘15’.
Violence
Violence has always been a feature of entertainment for children and adults. Classification decisions will take account of the degree and nature of any violence in a work.Works which feature the following are likely to receive more restrictive classifications: portrayal of violence as a normal solution to problems, heroes who inflict pain and injury, callousness towards victims, the encouragement of aggressive attitudes, and content which depicts characters taking pleasure in pain or humiliation. Sexualised violence or works which glorify or glamorise violence will receive a more restrictive classification and may even be cut. 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.
Titles
If the title of a work incites hatred on grounds of race, religion or sexual orientation, or incites other criminal behaviour; or encourages an interest in abusive or illegal sexual activity, changes will be required as a condition of classification. If the title of a work is likely to cause significant offence to a significant number of people if displayed in apublic place, the distributor will be advised to consider carefully the places in which it is likely to be seen and to take appropriate action, for example by obscuring certain
words on packaging or marketing materials. (This advice is not given in relation to works classified ‘R18’ as such works can only be supplied or offered for supply in a licensed sex
shop.) In extreme cases, assurances on public display of the full title, or changes to the title, may be required as a condition of classification.
Photo or pattern sensitivity, motion sickness and reactions to lowfrequency sound
A small number of viewers are sensitive to flashing and flickering light, or some shapes and patterns, and may experience seizures or other serious physical effects. In addition, some viewers experience feelings of motion sickness or other symptoms when viewing works which feature hand held or otherwise moving camerawork, or which feature very low frequency sounds. It is the responsibility of film makers and distributors to identify works in which such issues may arise and to ensure that, when required, appropriate warnings are given to viewers.
Such effects are therefore not normally taken into account when reaching a classification decision. However, if it is obvious during viewing that the work is highly likely to affect a significant number of viewers, the BBFC may advise the distributor of the need to ensure that appropriate warnings are in place. In extreme cases, assurances regarding the display of appropriate warnings may be required as a condition of classification.
Categories
Statutory powers on film remain with the local councils, which may overrule any of the Board's decisions, passing films we reject, banning films we have passed, and even waiving cuts, instituting new ones, or altering categories for films exhibited under their own licensing jurisdiction.
The British Board of Film Classification (BBFC) is an independent, non-governmental body funded through fees that it charges when films and video works for classification are submitted. It was set up in 1912 by film industry to bring a degree of uniformity to classifation of film nationally. The BBFC classifies films on behalf of the local authorities who license cinemas under the Licensing Act 2003. The BBFC will not classify material which it believes to be in breach of the criminal law.
The general underlying grounds on which the BBFC exercises the broad discretion conferred on it. There are two guiding principles: That works should be allowed to reach the widest audience that is appropriate for their theme and treatment. That adults should, as far as possible, be free to choose what they see, provided that it remains within the law and is not potentially harmful. When applying these guiding principles, there are three main qualifications: Whether the material is in conflict with the law, or has been created through the commission of a criminal offence. Whether the material, either on its own, or in combination with other content of a similar nature, may cause any harm at the category concerned. This includes not just any harm that may result from the behaviour of potential viewers, but also any ‘moral harm’ that may be caused by, for example, desensitising a potential viewer to the effects of violence, degrading a potential viewer’s sense of empathy, encouraging a dehumanised view of others, suppressing pro-social attitudes, encouraging anti-social attitudes, reinforcing unhealthy fantasies, or eroding a sense of moral responsibility. Especially with regard to children, harm may also include retarding social and moral development, distorting a viewer’s sense of right and wrong, and limiting their capacity for compassion. Whether the availability of the material, at the age group concerned, is clearly unacceptable to broad public opinion. It is on this ground, for example, that the BBFC intervenes in respect of bad language. In assessing legal issues, potential harm or acceptability to broad public opinion, the BBFC takes account of relevant research and expert opinion. However, such research and expert opinion is often lacking, imperfect, disputed, inconclusive or contradictory. In many cases the BBFC must therefore rely on its collective experience and expertise to make a judgement as to the suitability of a work for classification, or for classification at a particular category. There are certain overarching factors that may influence a classification decision at any level and in connection with any issue. These factors are of particular importance when a work lies on the borderline between two categories.
Context
The context in which an issue (such as sex, language or violence) is presented is central to the question of its acceptability. When considering context the following factors, as well as
others, may be taken into account:
• The expectations of the public in general and the work’s audience in particular.
• The work’s genre. For example, a realistic or contemporary approach may intensify the
effect. By contrast a historical or fantasy setting, or comic presentation, may soften
the effect.
• The manner in which an issue is presented. For example, language used aggressively may be dealt with more stringently than the same terms used in a comic way.
• The apparent intention of the film maker, as reflected in its effect. For example, whether • the work is intended to be educational.
• The original production date of the work. For example, outdated attitudes which might be considered offensive in a contemporary work may be treated more leniently in a much
older, and obviously dated, work • Any special merits of the work.
Tone and impact.The overall tone of a work may also affect the classification decision. While the presentation of specific issues, such as sex and violence, may not be problematic at a particular category, if the work has a generally dark or unsettling tone that may
disturb the audience at that category, then it may receive a more restrictive classification. At the junior categories, and on the borderline between categories, such considerations as the degree of fantasy; the level of connection to the real world; and the extent to which the work presents a despairing view of the world or lacks a clear moral perspective may be important factors. The impact of a work (how it makes the audience feel) is also taken into account, for example in relation to horror films where threat may be more significant
than violence.
Release format.
Classification decisions may be stricter on video works than on film. This is on account of the increased possibility of under-age viewing or game playing recognised in the Video
Recordings Act, and of works being replayed or viewed out of context. Accordingly, a video work may occasionally receive a higher classification than on film, or require new or different cuts.
Main Issues.
This section of the Guidelines identifies some concerns which apply, to a greater or a lesser degree, at all classification levels. It sets out the general approach taken with regard
to such concerns, given the general principles set out earlier. The pages following this section provide specific guidance for ‘U’ through to ‘18’ under the heading ‘The Categories’. The guidance there should be read in the light of the more general advice offered here and under ‘Overarching Factors’ and ‘General Principles’.
Discrimination.
Potentially offensive content, relating to such matters as race, gender, religion, disability or sexuality, may arise in a wide range of works, and the classification decision will take account of the strength or impact of its inclusion. The context in which such content may appear also has a bearing on the classification. Works with such content may receive a
less restrictive category where discriminatory language and behaviour is implicitly or explicitly criticised; or the work as a whole seeks to challenge such attitudes, or is obviously dated.
Drugs
No work taken as a whole may promote the misuse of drugs and any detailed portrayal of drug misuse likely to promote or glamorise the activity may be cut. Works which show drug misuse while emphasizing the dangers may receive less restrictive classifications than works that present drug misuse in a neutral manner.
Where smoking, alcohol abuse or substance misuse feature to a significant extent in works which appeal to children. Classification decisions will also take into account any promotion or glamorisation of such activities.
Horror
The use of frightening elements which might scare or unsettle an audience is part of a long tradition of story telling and film making. Many children enjoy the excitement of scary sequences, but, where films are targeted at a younger audience, classification decisions will take into account such factors as the frequency, length and detail of scary scenes as well as horror effects, including music and sound, and whether there is a swift and reassuring outcome.
Older audiences often pay to see horror films because they like being frightened or shocked and such works are classified at an appropriate category to ensure that the young and vulnerable are protected from too intense an experience.
Imitable behaviour
Classification decisions will take into account any detailed portrayal of criminal and violent techniques, and any glamorisation of easily accessible weapons, such as knives. Works which portray anti-social behaviour (for example, bullying) uncritically are likely to receive a more restrictive classification. Works which, taken asa whole, actively promote illegal behaviour will be cut or rejected. Portrayals of potentially dangerous behaviour (especially relating to hanging, suicide and self-harm) which children and young people are likely to copy, will be cut if a more restrictive classification is not appropriate.
Language
Many people are offended, some of them deeply, by bad language. This may include the use of expletives with a sexual, religious or racial association, offensive language about minority groups and commonly understood rude gestures. The extent of that offence may vary according to age, gender, race, background, beliefs and expectations brought by viewers to the work, as well as the context in which the word, expression or gesture is used.
For these reasons, it is impossible to set out comprehensive lists of words, expressions or gestures which are acceptable at each category. The advice at different classification levels, therefore, provides general guidance taking account of the views expressed in public consultation exercises.
Nudity
Natural nudity with no sexual context is acceptable at all classification levels, but will not occur more than occasionally in the lowest category. Nudity with a sexual context will receive a more restrictive classification and strong detail in such a context will only be passed in the adult categories.
Sex
The portrayal of sexual activity can range from kissing and verbal references to ‘making love’, to detail of real sex. This is reflected in the classification system, in which progressively stronger portrayals are allowed as the categories rise. Sex works (works whose primary purpose is sexual arousal or stimulation) are likely to be passed only in the adult categories. 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. ‘R18’ video works may be supplied only in licensed sex shops which no one under 18 may enter.
‘R18’films may be shown only in specially licensed cinemas.These Guidelines will be applied to the same standard regardless of sexual orientation.
Theme
Classification decisions will take into account the theme of a work, but will depend significantly on the treatment of that theme, and especially the sensitivity of its
presentation. However, the most problematic themes (for example, drug abuse, sexual violence, paedophilia, incitement to racial hatred or violence) are unlikely to be
appropriate at the most junior levels of classification. Correspondingly, there is no reason in principle why most themes, however difficult, could not be presented in a manner which
allowed classification at ‘18’ or even ‘15’.
Violence
Violence has always been a feature of entertainment for children and adults. Classification decisions will take account of the degree and nature of any violence in a work.Works which feature the following are likely to receive more restrictive classifications: portrayal of violence as a normal solution to problems, heroes who inflict pain and injury, callousness towards victims, the encouragement of aggressive attitudes, and content which depicts characters taking pleasure in pain or humiliation. Sexualised violence or works which glorify or glamorise violence will receive a more restrictive classification and may even be cut. 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.
Titles
If the title of a work incites hatred on grounds of race, religion or sexual orientation, or incites other criminal behaviour; or encourages an interest in abusive or illegal sexual activity, changes will be required as a condition of classification. If the title of a work is likely to cause significant offence to a significant number of people if displayed in apublic place, the distributor will be advised to consider carefully the places in which it is likely to be seen and to take appropriate action, for example by obscuring certain
words on packaging or marketing materials. (This advice is not given in relation to works classified ‘R18’ as such works can only be supplied or offered for supply in a licensed sex
shop.) In extreme cases, assurances on public display of the full title, or changes to the title, may be required as a condition of classification.
Photo or pattern sensitivity, motion sickness and reactions to lowfrequency sound
A small number of viewers are sensitive to flashing and flickering light, or some shapes and patterns, and may experience seizures or other serious physical effects. In addition, some viewers experience feelings of motion sickness or other symptoms when viewing works which feature hand held or otherwise moving camerawork, or which feature very low frequency sounds. It is the responsibility of film makers and distributors to identify works in which such issues may arise and to ensure that, when required, appropriate warnings are given to viewers.
Such effects are therefore not normally taken into account when reaching a classification decision. However, if it is obvious during viewing that the work is highly likely to affect a significant number of viewers, the BBFC may advise the distributor of the need to ensure that appropriate warnings are in place. In extreme cases, assurances regarding the display of appropriate warnings may be required as a condition of classification.
Categories
UniversalSuitable 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.
Parental GuidanceGeneral 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.
Suitable for 12 years and over.Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
Suitable for 12 years and over.Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
Suitable only for 15 years and overNo-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.
Suitable only for adultsNo-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.
To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years.The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order.
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