BBFC Certificate Rating 'R18'

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 video works may not be supplied by mail order.

The following content is not acceptable:

• material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959 (see Annexe)

 

• material (including dialogue) likely to encourage an interest in sexually abusive activity which may include adults role-playing as non-adults

• the portrayal of sexual activity which involves real or apparent lack of consent. Any form of physical restraint which prevents participants from indicating a withdrawal of consent

 

• the infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity

 

• penetration by any object associated with violence or likely to cause physical harm

• sexual threats, humiliation or abuse which do not form part of a clearly consenting role playing game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable

 

These Guidelines will be applied to the same

standard regardless of sexual orientation of the activity portrayed.



BBFC Certificate Rating '18'

 

 

 No 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. 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 us to risk harm to individuals or, through their behaviour, to society. For example, the 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 sadistic or sexual violence which make this violence look appealing; reinforce the suggestion that victims enjoy sexual violence; or which invite viewer complicity in sexual violence or other harmful violent activities

 

• where there are more explicit images of sexual activity in the context of a sex work (see below) or where the primary purpose of the images in question is sexual arousal In the case of video works, 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 or safer sex and health, explicit images of sexual activity may be permitted.

Sex works at 18

Sex works are works whose primary purpose is sexual arousal or stimulation. 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. Material which is unacceptable in a sex work at R18 is also unacceptable in a sex work at 18.

(The Dictator, 18)

 



BBFC Certificate Rating '15'

 

No 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.

Discrimination

The work as a whole must not endorse discriminatory language or behaviour, although there may be racist, homophobic or other discriminatory themes and language.

Drugs

Drug taking may be shown but the work as a whole must not promote or encourage drug misuse (for example, through instructional detail). The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

 

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Whether the depiction of easily accessible weapons is acceptable will depend on factors such as realism, context and setting.

 

Language

There may be strong language. Very strong language may be permitted, depending on the manner in which it is used, who is using the language, its frequency within the work as a whole and any special contextual justification.

 

Nudity

There are no constraints on nudity in a non-sexual or educational context. There may be nudity in a sexual context but usually without strong detail.

 

Sex

Sexual activity may be portrayed, but usually 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.

 

Threat

 

There may be strong threat and horror. A sustained focus on sadistic or sexual threat is unlikely to be acceptable.

 

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 violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but the depiction of sexual violence must be discreet and justified by context.

 

(The Last Exorcism, 15)

 



BBFC Certificate Rating '12' and '12A'

 

Films classified 12A and video works classified 12 contain material that is not generally suitable for children aged under 12. No one younger than 12 may see a 12A film in a cinema unless accompanied by an adult. Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child. To help them decide, we recommend that they check the BBFCinsight for that film in advance. No one younger than 12 may rent or buy a 12 rated video work.

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

Misuse of drugs must be infrequent and should not be glamorised or give instructional detail.

Imitable behaviour

No promotion of potentially dangerous behaviour which children are likely to copy. No glamorisation of realistic or easily accessible weapons such as knives. No endorsement of anti-social behaviour.

Language

There may be moderate language. Strong language may be permitted, depending on the manner in which it is used, who is using the language, its frequency within the work as a whole and any special contextual justification.

Nudity

There may be nudity, but in a sexual context it must be brief and discreet.

Sex

Sexual activity may be briefly and discreetly portrayed. Moderate sex references are permitted, but frequent crude references are unlikely to be acceptable.

Threat

There may be moderate physical and psychological threat and horror sequences. Although some scenes may be disturbing, the overall tone should not be. Horror sequences should not be frequent or sustained.

Violence

There may be moderate violence but it 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 context. Sexual violence may only be implied or briefly and discreetly indicated, and its depiction must be justified by context.

(Harry Potter and the Deathly Hallows Part 1, 12)



BBFC Certificate Rating 'PG'

 

A PG film should not unsettle a child aged around eight or older. Unaccompanied children of any age may watch, but 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, or in a particularly dated work with no likely appeal to children. Discrimination by a character with whom 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.

Imitable behaviour

No detail of potentially dangerous behaviour which young children are likely to copy, if that behaviour is presented as safe or fun. No glamorisation of realistic or easily accessible weapons such as knives. No focus on anti-social behaviour which young children are likely to copy.

Language

Mild bad language only. Aggressive or very frequent use of mild bad language may result in a work being passed at a higher category.

Nudity

There may be nudity with no sexual context.

Sex

Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.

Threat

Frightening sequences or situations where characters are in danger should not be prolonged or intense. Fantasy settings may be a mitigating factor.

Violence

Violence will usually be mild. However there may be moderate violence, without detail, if justified by its context (for example, history, comedy or fantasy).

 

 (Rango, PG)



BBFC Certificate Rating 'U'

A U film should be suitable for audiences aged four years and over, although it is impossible to predict what might upset any particular child. U films should be set within a positive framework and should offer reassuring counterbalances to any violence, threat or horror. If a work is particularly suitable for pre-school children, this will be indicated in the BBFCinsight.

Discrimination

Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of.

Drugs

References to illegal drugs or drug misuse must be infrequent and innocuous, or have a clear educational purpose or anti-drug message suitable for young children.

Imitable behaviour

Potentially dangerous or anti-social behaviour which young children may copy must be clearly disapproved of. No emphasis on realistic or easily accessible weapons.

Language

Infrequent use only of very mild bad language.

Nudity

Occasional nudity, with no sexual context.

Sex

Only very mild sexual behaviour (for example, kissing) and references to such behaviour.

Threat

Scary or potentially unsettling sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.

Violence

Violence will generally be very mild. Mild violence may be acceptable if it is justified by context (for example, comedic, animated, wholly unrealistic).

 

 (Winnie the Pooh, U)

 

 

 

 

 

 



Horror Film Production Companies

 

Hammer Film Productions was founded in 1934 in London. The company is best known for its 1950's-60's gothic movies such as the Dracula series, the Frankenstein series, The Bride of Frankenstein and The Mummy series. Hammer Films big success was down to the partnership it had with Warner Bros. The company's success eventually died out but was revived recently and this began the company's list of new hit horror movies like Wake Wood, The Women in Black and The Quiet Ones.

 

Twisted Pictures is an independent American film company which is most famous for the ever popular Saw franchise. It has also been responsible for the films Dead Silence and Texas Chainsaw 3D.

 

 

The last and most unknown of the film production companies I have chosen is Amicus Productions. Founded by Milton Subotsky and Max Rosenberg, this film company is based at Shepperton Studios in England. It has produced more films than Twisted Pictures but has had little success.



Iconic Sounds in Horror

Just a few iconic sounds you would typically hear in a horror film...

 

 

"Scream":

A scream or a desperate cry for help is a typical sound in horror movies. This is usually from someone who is in danger or presented with an overwhelming fear. A massive convention within horror films is when someone screams but the audience are never shown what they are screaming at or that someone screams off camera and by the time the characters get to the source of the scream, there is no one there. The most famous scream within the world of horror would have to be the famous Psycho scene (above). Screams or cries tells us when a character is scared or shocked which makes it relatable to the audience to scream along with the film. We see it as okay to be scared when others are too.

 

"Heavy Breathing":

When a character is in panic and the scene is at the highest point of tension, the character usually is panting or heavily breathing. This is due to the heart rate going up because of panic and the body thinking it needs more oxygen and so breathing becomes quicker. When a character is looking for danger or when danger is nearby, heavy breathing usually more present.

 

"Footsteps":

Most of the time, tension is built through the oncoming sound of footsteps caused by the 'evil' of the horror film. The sound of footsteps getting closer implies evil approaching and this would make the audience feel as if whatever is in the film is coming for them in reality. This sound would tie in a lot with heavy breathing in its build-up of tension.

 

"Silence...":

Sometimes the worst sound of all is none at all. When we can't hear anything, it can be quite disturbing and through convention, audience members know that after silence something may jump out at them and scare them so we prepare ourselves to be scared in a way. The sound of silence is probably one of the worst things to hear in a horror film and is more frightening then any sound possible. Some films use silence in their titles and even then it sounds frightening: Dead Silence, Silence of the Lambs, The Silent.



A Nightmare on Elm Street Opening Analysis

'The Stepfather' Still Frame Analysis

 

This is a still from the remake of The Stepfather. The Stepfather is a film my group are basing our ideas on for or horror opening. In this still, we see Grady Edwards, the main characters and 'stepfather' of the story. We can immediately tell that he has the qualities of a killer as he is holding a knife in the way in which you would stab something or skin an animal. Despite the knife, he is dressed in rather casual clothing. This counters the conventions of what we perceive a killer to be and strikes fear into the audience as someone they know who looks like an ordinary person could be capable of killing.

 

The sweat on his the front of his top shows he is either stressed or been working hard. He may be stressed due to how difficult it is to kill his victims. His hair is also sweaty which gives the real sense that he has been struggling and is desperate to get rid of someone. He is in a sort of 'wild west' stance like he is about to duel or engage in a struggle with someone. We can infer that someone may try and resist his actions. The scenery around him is typically of a household where we infer a family lives. The whole idea of The Stepfather is that someone who could even be part of your family, could be a cold hearted killer which the audience would find frightening since the story of The Stepfather could be real.

 

This is the kind of film I would like for my group's horror opening: a horror film that could be real.

Research into Typical Synopsis



Collage of Horror Iconography



Conventions of Horror

Font Analysis

This font is the first one I spotted that looked like it was for a horror. This was due to the liquid (which I conventionally saw as blood) dripping from each letters like the letters weren't full intact. This idea if something being very brittle and wearing away gives the sense of destruction and so anarchy and evil which all relate to horror. The title is crudely drawn and the use of a blood like substance instantly says horror film and death.

This font reminded me of the punk movement of 1977 but it could be relevant to horror as the lettering looks old and worn away and a lot of horror is based on some forgotten history or something and the way the font almost seems like that once it was happy would make the audience feel uncomfortable since we as people put our trust in things that make us happy but really the horror genre can abuse this and make it dishonest; this idea that you're never safe.

This last font reminds me of scratching or carving into a surface. This angry imagery would make the audience think of someone or something dangerous and maybe even a tool used to carve it in such a way, like a knife. All of these fonts are in block capitals to make them stand out and none of them are really neat, they all have jagged edges almost like whoever wrote them didn't care or had to do it quickly.This gives us the image of someone being frantic and panicky which would make the audience do the same.

http://www.fonts.com/

Title Analysis

 

The titles to the 2013 remake of Evil Dead is written in a very vibrant red. This vibrant red makes the title stand out and conventionally makes the audience think of blood and danger. Red is a very evil colour, like in Star Wars, Sith lords all have red light sabers. The title is in bold capital letters which makes it seem larger and more 'in your face' and intricate patterns are woven into the letters which resemble tree branches. This is relevant since the film is set in a forest so you could say it is a method of foreshadowing. In the actual title sequence, the title is just red and the branches start growing and appearing as if the trees are alive, just like in the movie. The way the branches almost overtake the title makes the audience feel as if the evil is spreading and nothing can stop it, just like a force of nature (hence the trees could be symbolising evil).

 

The Thing, 1982, has a very jagged title which seems to 'freeze' into the opening like ice. This is another foreshadow on how The Thing in the movie is thawed out of ice. The title is written almost like the person who did it didn't care and sort of like it was carved like they did back in prehistoric times. We could take this as a hint that the creature is of an unknown origin, before history. The title is in front of a space scene and has a blue aurora surrounding it like some kind of spaceship. This shows us that it is a sci-fi horror. The use of the title 'The Thing' would make the audience more curious on what 'The Thing' actually is. We as people are obsessed with finding out everything we can and if we don't know something, we want to know which will make the audience watch on. Also, the fact that The Thing doesn't have a name and is even referred to in the film as 'The Thing' creates fear in that even the characters in the film don't know what it is.

 

These are the three original Evil Dead trilogy titles. The first Evil Dead (1981) has a very simple red title (much like the remake) which immediately says danger. The title is animated and waves about like a ghost or a spirit which would make the audience think of supernatural qualities within the film. The title is over the top of a grey mist which is mysterious and quite scary as we want to know what is behind the mist but it may make us frightened. This is how horror films work, they create suspense and mystery and we as audiences want to watch even though we know it will make us jump scared; we enjoy being scared.

 

The Evil Dead 2 (1987) has a quite different title than the first one. It is in block capitals and is very much in the same style of the remake (perhaps the remake was based on this title) and has a big roman numeral of the number 2 behind the title. The use of the roman numeral indicates history so we can infer that the film contains a lot about the history of t evil and where it came from. The title is in white which is the colour of purity which is then surrounded by black which could mean evil. You could go as far to say that this is representing Ash Williams, who in the movie is pure and surrounded by evil.

 

The last installment to the Evil Dead trilogy is Army of Darkness (1992). This film is very different to the others in it's setting but is still a horror. It carries a different name but is still known as Evil Dead 3 as it follows on from number 2. The title of this one is formed from a spiritual anomaly and so keeping to the theme of spirits and demons. The title is faint and written in capitals and disappears faintly. This is a slightly more leery title which will make the audience think of the unexpected. After all, that title is different and we were left last time with a cliffhanger but the fact that the spirits are still existent would make the audience suspicious on how.

 

http://www.artofthetitle.com/

Iconic Horror Directors

George A. Romero

George Andrew Romero was born in New York City on February 4th, 1940. Romero is regarded as one of the most famous zombie film directors of all time and is a very successful director, screenwriter and editor. He attended the Carnegie-Mellon University in Pittsburgh, Pennsylvania and after graduation, formed "Image Ten Productions" with a group of friends in the late 60's where they created the first instalment of the to be greatest zombie pentalogy ever, Night of the Living Dead.

It was created on just a budget of 100,000 dollars and made a huge profit. It then became a cult classic in the 70's and the pentalogy continued with Dawn of the Dead, Day of the Dead, Land of the Dead, Diary of the Dead and Survival of the Dead. He has been married 3 times and has 2 children and is currently the age of 74. His other works are The Crazies and Season of the Witch and most of his movies are filmed in his favourite city, Pittsburgh.

Night of the Living Dead (1968)

John Carpenter

 

John Howard Carpenter was born in Carthage, New York on January the 6th, 1948. He is an American director, producer, editor, composer and screenwriter and has been active since 1962. His most commonly associated work is his sci-fi films in the 70's and 80's and his most notable work is the 1978 cult classic, Halloween. Carpenter was interested in filming from a young age and began to film short movies on an 8mm film before he even went to high school. He studied at Western Kentucky University and then later on at University of Southern California's School of Cinematic Arts but he dropped out to begin his future. Halloween, The Thing, Escape from New York and They Live are a few of his most famous films. He has had two wife's and now lives in Los Angeles at the age of 66.

 

 

Halloween (1978)