![]() Indecorous, ambiguous and irreverent titles and subtitles.O'Connor, listed forty-three infractions, from the BBFC 1913–1915 annual reports, during the National Council of Public Morals: Cinema Commission of Inquiry (1916), indicating where a cut in a film may be required. However, some clarity would come in 1916 when the then president of the BBFC, T. Unlike the American Production Code Administration, which had a written list of violations in their Motion Picture Production Code, the BBFC did not have a written code and were vague in their translation to producers on what constituted a violation. ![]() The board's offices were originally at 133–135 Oxford Street, London the building is located at the junction of Wardour Street, a centre of the British film industry for many years. By paying a fee of £2 for every reel of film viewed, and by appointing a panel of viewers under a censor, none of whom had any film trade interests, the growing cinema industry neatly created a censorship body which was both self-supporting and strictly impartial, and therefore was not swayed by any sectional interests inside the film trade or outside it. The film industry, fearing the economic consequences of a largely unregulated censorship infrastructure, therefore formed the BBFC to take the process 'in house' and establish its own system of self-regulation. ![]() Given that the law now allowed councils to grant or refuse licences to cinemas according to the content of the films they showed, the 1909 Act, therefore, enabled the introduction of censorship. The Act was introduced for reasons of public safety after nitrate film fires in unsuitable venues (fairgrounds and shops that had been hastily converted into cinemas) but the following year a court ruling determined that the criteria for granting or refusing a licence did not have to be restricted to issues of health and safety. The Cinematograph Act 1909 required cinemas to have licences from local authorities. Although the clergy were invited to see it and found little to be affronted by, the controversy resulted in the voluntary creation of the BBFC, which began operating on 1 January 1913. The film, shown at the Queen's Hall, London, gained considerable publicity from a great outcry in the Daily Mail, which demanded: "Is nothing sacred to the film maker?", and waxed indignant about the profits for its American film producers. The immediate impetus for the board's formation stemmed from the furore surrounding the release in the UK in October 1912 of the film From the Manger to the Cross, about the life of Jesus. ![]() The BBFC was established in 1912 as the British Board of Film Censors by members of the film industry, who preferred to manage their own censorship than to have national or local government do it for them. History and overview British Board of Film Censors 'U' certificate for Berlin Airlift (1949) The BBFC was also the designated regulator for the UK age-verification scheme, which was abandoned before being implemented. ![]() It has a statutory requirement to classify all video works released on VHS, DVD, Blu-ray (including 3D and 4K UHD formats), and, to a lesser extent, some video games under the Video Recordings Act 1984. The British Board of Film Classification (1985–2003) īritish Board of Film Classification ( BBFC previously the British Board of Film Censors) is a non-governmental organisation founded by the British film industry in 1912 and responsible for the national classification and censorship of films exhibited at cinemas and video works (such as television programmes, trailers, adverts, public information/campaigning films, menus, bonus content, etc.) released on physical media within the United Kingdom.The Incorporated Association of Kinematograph Manufacturers, Limited (1911–1985). ![]()
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