Who should have the right to decide if audiences should be protected - and from what?

As it stands, the BBFC examines and age rates films and videos before they are released. These age ratings are there to protect us and primarily children from seeing (what they deem as) inappropriate things for their age, this might be based on factors such as violence, sex scenes, nudity, drug use, language, themes and horror.

One view is that the government should have the right to decide if audiences should be protected. This is because, we feel it is the government's responsibility to protect us from harm,  and things that might be distressing, for example, a young child going to see a violent horror film, would not be seen as acceptable. Another reason why the government should have the right to decide if audiences should be protected, if because, if they did nothing, and set out not age ratings, or guidelines, and children were to see an unacceptable film, it would automatically be the government's fault, as they made it too available and did not do their job in protecting us.

One other view, is that parents should have the right to decide if audiences should be protected. This is because, parents/guardians are trusted to protect us, and bring us up, so why should they not be able to determine what films e can and cannot watch? They should also be responsible, as if they were to let their child see something inappropriate, they have to deal with the consequences  for example, a young child who watches a horror film, might go onto have nightmares, therefore, it is only the parents' fault. Parents should also have the right to decide if audiences should be protected as they do anyway. The only places that can monitor what films get seen and by who are really cinemas, and shops, as it is now available to watch films on the internet, which might have some parental protection, but children can easily get around this. Films can also be brought from things such as ‘on demand’ now, and some films might even be watched illegally, which means that it is impossible to monitor who sees what, and this means that we trust parents to monitor what children watch anyway.

Another view, is that we, ourselves should have the right to decide if audiences should be protected. This is simply because, we know ourselves what we like, and don’t like and therefore we should decide what films we want to watch, and if we are to watch something we don’t like, or is inappropriate, then it is our fault. We are in control of ourselves and make decision everyday whether they be big or small, so we should in turn, be in charge of what films we see.

In conclusion, in some ways, all of these groups/people should have the right to decide if we should be protected, but what it comes down to, is that these ratings are mostly only there as a guideline, as we can only monitor who is protected from what as far as cinemas and shops.

Notes

Distribution

• It is the third part of the film supply chain, and is often referred to as 'the invisible art' 
• Distribution is often considered the most important part of the film industry because it is the point when completed films are brought to life and connected with an audience
• Distribution can be divided into 3 sections (licensing, marketing and logistics)
• In the UK, distribution is very much focused on marketing and sustaining a global product in local markets
• Independent producers have to sell their films to different distributors in each territory 
• The distributor will usually pay the producer a minimum guarantee for the licence

The Launch of the Film

• In the UK, feature films are release initially theatrically. A theatrical opening is seen as the most effective way to create interest in a new film
• Months after the theatrical release, a film will be packaged and released on DVD and VHS video, then on various forms of pay television, and after a couple of years of it being in the cinemas, on free-to-air TV
• Incest as much as is needed in promoting the films to draw out the maximum returns

Marketing

• In the UK, new films are released theatrically on Fridays
• A further consideration for scheduling a release is the seasonality of the film
• The distributor will try to position the film distinctively and avoid a release date occupied by other films with similar traits (story, subject, country of origin)

The Theatrical Release

• The costs of theatrical release are often referred to as 'P&A' or prints and advertising
• P&A also pay initial fee for right, and can range from £1,00 to £1 million for the release of a film in the UK

The Logistics of Distribution

• The distributor will enter into an agreement with the cinema to screen the film on certain 'play-dates'.
• It is the responsibility of the distributor to arrange the transportation of the film to the cinema as part of its wider coordination of print across the UK
• Logistics represent the phase of distribution at its most basic - supplying and circulating copies of the film to theatres of tapes and DVDs to shops and video rental stores, and managing the effectiveness of the supply
• For UK theatrical exhibition  the distributor typically handles 35mm of film print. These are generally broke down into smaller reels
• Each print is made for repeat use, this means that they may get damaged as they pass through different projectors and projectionists

Catfish
Catfish is a 2010 American film, directed by Henry Joost and Ariel Schulman, involving a young man being filmed by his brother and friend as he builds a romantic relationship with a young woman on the social networking website Facebook.

• Hit at the Sundance Film Festival
• Distributed by Momentum Pictures
• The release was first available on Video On Demand/Pay Per View and at the cinemas simultaneously, then just two weeks later was released on DVD, also on Lovefilm
• £67,000(P&A funding) was awarded to launch the film on a wider scale
• The lead in the film, Nev Schulman also did a Q&A discussion, where he took questions from audiences at cinemas, and from twitter (technology, more promotion, gets more people talking about it, widespread advertising)
• Catfish grossed £48,469 in its opening weekend, and by the second week the box office was £89,721. By the end of the eight-week theatrical run the film had grossed £144064
• Most successful simultaneous multi-platform release in the UK 
• Multi-platform message did not take away from the cinema performance, however the DVD sales did not actually benefit from the very short window

Another Year

A look at four seasons in the lives of a happily married couple and their relationships with their family and friends.

• Another Year premiered at the BFI London Film Festival in October 2010
• A portion was allocated to expand the UK premiere from the London Film Festival's Mayor of London Gala. Footage from the premiere and the Q&A session was beamed to 33 sites in Greater London and across the UK, who also screened the film to paying audiences. This event cost about £13,00

Film Classification Research

How are films classified?
The BBFC examines and age rates films and videos before they are released. This independent scrutiny prior to release ensures the highest possible level of protection and empowerment.

We watch films and videos all the way through and award an age rating and insight to each one. We reach an age rating by applying the standards and criteria contained in our Classification Guidelines.

What are the main films classifications?

Why are they classified?

Films are classified to protect children from  unsuitable or harmful content shown in the scenes of that movie.

By whom?

Films are classified by the BBFC

Film classification is a crucial part of film distribution. Why?
Film classification is a crucial part of film distribution as it ensures that the films are acceptable for the audiences that will see them, and it might also affect which types of audiences go to see them. This could affect the way that films are distributed, for example, which cinemas the films the are shown and how the film is advertised.

How effective is film classification?
Film classification is effective in places such as cinemas, or shops, however many people ignore these and allow their children to watch films that are not suitable for them. People might also watch films online, which are easily accessible.

Have you watched films classified as 18 when you were below this age?
Yes, obviously.

Does film classification work for home viewing?
Not necessarily, unless parents monitor what children watch, it is easy to gain access to these films. Although there might be some restrictions  mostly they are either passwords, which the children can make up themselves, or they are just a simple "Tick this box if you are over 18".

Can parents or guardians be trusted to monitor what children are viewing?
No, they cannot, as not all parents will see age ratings as an issue, and will decide if they think the films is appropriate or not, and whether or not to reinforce the film classification. However, if the parents/guardians are happy with what the children are watching, then it isn't an issue. Also, it is almost impossible for parents to monitor everything their child watches, in and out of the home.

Should they have this responsibility? How can they effectively monitor their children's viewing?
Yes, they should have this responsibility, as we generally allow parents to be responsible for other choices, so the parent can be responsible for whether or not they think a film is appropriate for the child, and if it was not, and they chose to let them see a film rated above their age, that was their mistake. The child should also be able to choose. Parents cannot effectively monitor their children's viewing outside of the home, but in the home, it is easily done by setting rules or maybe putting DVD's above their rating somewhere the child cannot access them, and also setting parental locks on the TV and computers.

What do you think the balance between state intervention (film classification) and individual responsibility (no regulation, free choice) should be?
I think that there should be little state intervention. I think it is appropriate for cinemas to enforce film classifications, but anywhere other than it is the child and parent's choice/responsibility. 

BAFTAS

What is BAFTA?The British Academy of Film and Television Arts (BAFTA) supports, promotes and develops the art forms of the moving image - film, television and video games - by identifying and rewarding excellence, inspiring practitioners and benefiting the public
Who won what?

Tessa Ross

• Has worked on the production of Slumdog Millionaire, Chris Morris’s Four Lions and Steve McQueen’s Hunger
• Started her career as a literary agent before moving into television, becoming head of Drama at Channel 4 in 2000.
• Controller of Film4 since 2004
• Received the Outstanding British Contribution to Cinema Award at the BAFTA Film Awards in February 2013
• Received a CBE in 2010 for her services to broadcasting

1. How do you feel knowing Slumdog Millionaire was so big?
2. Who has been your favourite celebrity to work with?
3. How do you feel after winning awards such as a BAFTA?
4. Do you think this will effect your career greatly?
5. Do you think you're going to be working on Hollywood films anytime soon?

Discuss the ways in which the extract constructs the representation of disability using the following: camera shots, angles, movement and composition, editing, sound & Mise-en-scene

                In this extract from casualty, camera shots, angles, movement and composition, editing,  sound and Mise-en-scene to construct many different representations of disability, such as the stereotype that disabled people are venerable.

                One representations of disability in this clip, is the stereotype that many disabled people just ‘give up’. One way in which this stereotype is shown is through sound. In the toilet scene, the brother in the wheelchair, says “I’ve had enough Adam. This disease is winning”, implying that he has given up and sees no reason to continue fight against his disease. This stereotype could also be shown through camera shots and angles. In the bathroom scene, there is an over the shoulder shot, in the mirror that shows the disabled man to be lower than his brother. This could be used to show that the disabled brother feels inferior to his brother. This is also shown through the use of a wheelchair in the scene, to show that he is cannot walk, and that may also make him feel lower than his brother. Also, the fact that the shot is in a mirror, could be used to represent the idea that after death, people close to that person will often imagine seeing them in certain places, which could also be used to show that the disabled man has given up. It could also be that the brother cannot face each other, as they know what is coming from the brother’s incurable disease and do not want to face it.

                However in this extract you can see a power shift between these two brothers. When they move to scene in the café it is almost as if the brother in the wheelchair has more power over his brother. This is shown through the shot type. The shot type is a wide shot, to show the two brother sat at a table, neither is shown to be higher than the other, but they are both show to be equal. As they are both sitting down, the brother in the wheelchair is not physically lower than anyone else, as they are all sitting. This power shift is also shown through the dialogue. In this scene he says to his brother “fetch me a straw”. There is also quite, Christmas music playing in the background to reflect the light-hearted situation, and the disabled man is relaxed. Although this could also be shown as him giving up, and not trying to do everyday tasks for himself, it also shows that he has power over his brother, as his brother does it straight away. It could also be shown through the Mise-en-scene, in that in the café, the disabled brother knows more people, for example, he knows the waitress by name, showing that he is not seen as inferior or different to anyone else.

                Another representation of disability in this extract is the stereotype that disabled people are vulnerable. One way this representation is shown is though shot types. In the scene where the man is mugged, there are many different shot types used to show this representation. One shot type used is a medium-close up of the disabled man, to show his hesitation about what to do when he is approached by one man on the bike with his hood up. It also shows the fear on his face, in that he is clearly intimated. There is then a wide shot used to show that he is being approached in both directions by two hooded men on bikes. This shot shows him change directions, again showing his hesitation about what to do. In this scene, there are quick cutes between these shots to show the tension building and that the disabled man is getting intimidated and worries that he doesn’t have anywhere to go/doesn’t know what to do, showing his vulnerability. The background noise in this scene, is everyday noise, such as cars, showing that disabled people could be vulnerable in everyday situations.

                In conclusion, this extract shows many representations of disability, such as disabled people having less power, and disabled people having more power, in many ways, using Camera shots, angles, movement and composition, editing, sound & Mise-en-scene.

Who holds the most power in terms of influencing what films get seen and made?

 There are many different stages in the film production cycle. As there are different groups in society, they might have different influences, for example, reviews, which people are in the film, and which studios produce it. It is also down to different groups which determine which films get seen and made, for example, production companies, audiences, and directors.

            The large Hollywood companies could be seen to have all the power in terms of influencing what films get seen and made because the productions companies, a lot of the time make similar films, if the films do well, which means they will get a reputation for having good films, and people will go to see them films if they have previously enjoyed the company’s films, for example, Pixar make cartoons, which are enjoyable for the family, such as ‘Monsters Inc’, which is very similar to other films they have made such as ‘The Incredibles’ and ‘Toy Story’. They also have a lot of power over what films get seen and made, as big production companies have the funds to promote their films using all different types of media and advertising, such as magazines, TV stations or internet platforms. As they have the funds, they are also able to hire the best script writers/crews/celebrities to take part in these films/directors, to make their films the most successful, and most likely to get seen.

            However, many people may argue that it is not the production companies, but it is the audiences and consumers who have the most influence over what films get seen/made. It is simply that, if a majority of the audiences, give bag reviews, or don’t like the films, sequels or similar films, will not get made. For example, in 2010, ‘Grown Ups’ got a lot of bad reviews, with a box office of only $271,430,189 (which compared to other films is very low), and since then, there has been no sequel/rumoured sequel, and those actors have not appeared together in a film. Also, the audiences, choose which films they go to see, so they have a lot of influence over what films get seen, for example, a friend might recommend it to another friends, so they go to see it, and so on. Although, some may argue that audiences actually have little control over which films they decide to watch, as we are a passive society and are easily influenced by mass media., such as posters at bus stops, or toys/themes in McDonalds happy meals, which could lead to pester power from children, ,meaning films are more likely to get seen. Also, audiences could have power over what films get seen/made, as many people are now finding ways to watch films without paying  which might means that stats about the film are not as high, which could result in less films that are similar/sequels getting made.

            It could also be argued that it is the celebrities/stars of the films that have the most influence over what films get seen/made. Many people have favourite actors/actresses, which could mean that if those celebrities are in certain films, audience may be more likely to go and see them.

            One last argument could be that it is actually the writers that have the most influence over what films get seen/made. If audience have seen previous films written by a certain writer, that they enjoyed the style of, they might be more inclined to go and view other films written by them writers. This might lead to them writers becoming more in demand and more films written by them getting made. It could also be that before the film was produces, it was a book, and audiences enjoyed the book, so decided the film would also be good, or wanted to go and see it.

            In conclusion, there are a lot of different groups which have different influences, but production companies and audiences together have the most influence over what films get seen and made, as if audiences do not enjoy films that get made, they simply will not go and see them, and if production companies have a good reputations and advertise their films well, audiences will be more likely to go and watch their film, meaning more films are made by that company.

Film Distribution Research HWK

Camden:

Kensington:

Leicester Square:

 

Covent Garden:

 

Tottenham Court Road:

 

1. Over one weekend, in these 5 cinemas, there are 315 separate screenings.

2.      In total, over one weekend, in these 5 cinemas, 16 different films are being shown.

3.      In total, over one weekend, in these 5 cinemas, 16 different films are being screened several times.

4.      In total, over one weekend, in these 5 cinemas, 16 different films are being screened several times at the same cinema.

5.      Over the weekend, in these 5 cinemas, there will be 16 different films being screened in relations to the total number screenings which is 315.

6.      From this, I can draw that film distribution in the UK is very important. There are a lot of different films, being played at different times to account for all different groups, for example, teenagers, working adults. There are also a lot of different cinema’s playing the same films so they are promoted all over cities and are accessible for most.