How does film classification affect film production and distribution?

Films are classified by a company called the BBFC (British Board of Film Classification) and they are classified for one main reason, which is to protect children from unsuitable and harmful content in films and to give consumers information they might need about a particular film before deciding whether or not to view it, 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 in order to protect children from viewing anything that could harm them. The BBFC look at issues such as discrimination, drugs, horror, dangerous and easily imitable behaviour, language, nudity, sex, and violence when making decisions on what age rate is given to a film. The theme of the work is also an important consideration. The BBFC will also consider context, the tone and likely impact of a work on the potential audience. The release format of a work has an impact on classification. Their decisions on the age rating of DVDs/Blu-Ray can occasionally be stricter than at the cinema because there is a higher risk of underage viewing in the home and a greater potential for watching scenes out of context.

When film production companies are in the making of the film, if for example they are creating a children’s film, they must consider all of the different aspects in the film that could be unsuitable or harm children. This is because the BBFC, could classify the film with a higher age rating than the film production company were hoping for, as this could affect their target audience. Therefore, filmmakers must consider when making children’s films to not include any themes or reference to sex, violence, drug-use etc. For example, a film such as ‘Paranormal Activity’ and ‘Saw’ has been classified as 18. This is because they contain scenes of violence, horror, gore and sexual references. These would have been classified an 18 by the BBFC because they are too harmful to anybody under the age of 18 and could psychologically harm them.

Film classification can affect the distribution of a film. This is because, a film has been rated as a ’15’ or ‘18’, advertisements of the film are very likely to be shown after 9:00pm because people above the age of 15 are likely to be watching television at this time. Therefore, films classified as ‘PG’ or ‘U’ are likely to be shown during the day and before 9:00pm because this way film production companies can target the correct audience for the film. Furthermore, films for people over the age of 15/18 being advertised on boards at the cinema or bus stops for example, are not likely to show harmful images/content as this could harm children who see the advertisements who are underage for a 15 or 18 film. This can affect the distribution of film because films that are classified by the BBFC to be a 15 or 18 can affect what images or clips are shown in adverts because film companies must not include any harmful content that can affect younger children. However, if a film for children classified as ‘U’ ‘12’ or ‘PG’ film companies are likely to distribute their films by advertising on children’s TV shows or by giving out toys in McDonalds that relates to the current film being advertised.

Film classification can also affect film production. This is because the producer of the film must consider the target audience they would like to produce their film for. They will then have to work around this and try to find and choose suitable actors/actresses, consider what is included in the script and the language used in the film that would suit fit their particular target audience. For example when producing a PG film, film production companies would have to consider the language used as children can influenced or harmed if they are exposed to bad language in a film. Therefore, film companies must be certain that the film is 100% suitable for their target audience especially if it is targeted at the younger audience. This is why it is important to consider the specific age classification for a film when producing it.  

In conclusion, film classification can affect the film production and distribution in a positive and negative way. It can affect it positively because it will make film production companies more aware of the content they include in a film to ensure that they do not cause any harmful content that could affect young children. It can however affect film production and distribution negatively because it can affect where and when films are distributed, as film companies may not target the correct audience if a horror film is being distributed because it is difficult to decide when and where the film can be advertised because harmful content cannot be exposed to the wrong target audience.

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

There are varied stages in the film production cycle e.g. distribution, exhibition and marketing. Different groups have different influences on how a film gets made and seen for example… audience, studios, production cast, writer, star, director etc.

My first argument is that the audience holds the most power in terms of influencing what films get made and seen. My reason for this is because without an audience of course, a film would not get seen and therefore a film would not make any money. It is easy to distinguish what films are popular from viewing box office statistics. For example, a recent film (Sky Fall) produced by Sony, made $302,823,504 from viewings, with the production budget costing $300million. The production cost would have also included the advertising costs Sony would have used to spread the word of the new film for people to see so they are attracted to the advert if they are interested in the action genre of film. Without advertising, the target audience would not be notified about the film and Sony probably wouldn’t have generated as many views. The amount Sony generated from this film shows that the audience played a big part in the amount they made because without an audience paying to see the film, Sony would not have made such a large amount.

On the other hand, it could be argued that the audience does not hold that much power in terms of influencing what films get made and seen. It could be argued that it is the big media/film conglomerates that holds the most power and has the biggest influence on what films are made and seen. Media conglomerates are huge multinational media companies who own: film studios, TV stations, record labels, magazines, newspapers, books, internet platforms etc. An example of a media conglomerate is The Walt Disney Company; in terms of revenue they are the largest media conglomerate in the world. The reason the media conglomerate has the most power is because they have the power to promote the film wherever they like, so that the target market notice the film and go to see it. For example, Walt Disney Company can promote a new film by advertising and giving out toys in McDonalds Happy Meals for kids, so the children are intrigued by the advertisement and toys and are persuaded to see the film. Media conglomerates are also a very powerful source in influencing how and film gets made and seen because the film may have originally been just a book, then created into a film. This is very likely to influence people who have read the book, especially if they enjoyed it they would be very likely to go and see the film after it has been produced. Media conglomerates can be very powerful and influence how a film gets seen and a lot more influential than the audience because the media conglomerate is what influences the audience to see the film through major advertising campaigns.

However, this can also be argued because it known that the ‘star of the film’ is what holds the most power as to how a film is created and viewed by the public. This is because, the more popular or ‘loved’ a famous star is by the public, the more views a film is likely to get. A very good example of this is Channing Tatum, a huge film star and heart-throb adored by many people worldwide, especially loved by women. An example of the films Channing Tatum has starred in is: Dear John, G.I. Joe, The Vow, Step-Up and 21 Jump Street. All of these films been relatively recent and the film companies produced a huge amount of profit due to Channing Tatum starring in these films. This is just one example of how the ‘star’ can be the most powerful source in terms of what films get seen and made. All of these films Tatum starred in, his face was plastered across every advertising campaign possible to catch the female attention because they are extremely likely to view the film if their favourite heart-throb is starring in the film. If for example, unknown/not very popular film stars are starring in a new Hollywood film, and no heart-throbs are starring in the film, many people are likely to not be as interested as they would be if a huge Hollywood star had a part in the film. This just shows how much power a star can hold in terms of what films are made and seen.

In conclusion, I believe that the media conglomerate is the most powerful source in influencing what films are made and seen because huge media conglomerates such as NBC, Disney, Universal are just a few examples of the biggest media conglomerates in the world who possess a lot of power and can have a huge influence over what and how films are made and seen. This is because they can create huge advertising campaigns that attract the right target audience, they can get hold of the biggest Hollywood actors to star in their films and this can really persuade an audience to go and see the film.

Les Mis Trailer

https://plus.google.com/u/0/103970729607209161521/posts/gorCupEeeEL

Les Misérables

The Production: Les Misérables is a 2012 British musical drama film produced by Working Title Films and distributed by Universal Pictures. 

The film is based on the musical of the same name by Alain Boublil and Claude-Michel Schönberg which is in turn based on Les Misérables, the 1862 French novel by Victor Hugo.

The film is directed by Tom Hooper, scripted by William Nicholson, Boublil, Schönberg and Herbert Kretzmer, and stars an ensemble cast led by Hugh Jackman, Russell Crowe, Anne Hathaway, and Amanda Seyfried. 

Directed by	Tom Hooper
Produced by	Tim Bevan Eric Fellner Debra Hayward Cameron Mackintosh
Screenplay by	William Nicholson Alain Boublil Claude-Michel Schönberg Herbert Kretzmer
Based on	Les Misérables(musical) by Alain Boublil Claude-Michel Schönberg
Starring	Hugh Jackman Russell Crowe Anne Hathaway Amanda Seyfried Eddie Redmayne Samantha Barks Helena Bonham Carter Sacha Baron Cohen
Music by	Claude-Michel Schönberg
Cinematography	Danny Cohen
Editing by	Melanie Ann Oliver Chris Dickens
Studio	Working Title Films Cameron Mackintosh Ltd.
Distributed by	Universal Pictures
Release date(s)	5 December 2012 (London, premiere) 11 January 2013 (United Kingdom)
Country	United Kingdom
Language	English
Budget	$61 million
Box office	$282,071,625

Love Actually - Classic British Film

Love Actually

Director: Richard Curtis

The Working Title Films production, budgeted at $45,000,000, was released by Universal Pictures. It grossed $62,671,632 in the United Kingdom, $13,956,093 in Australia and $59,472,278 in the US and Canada. It took a worldwide total of $247,472,278.

Most of the movie was filmed on location in London, at sites including Trafalgar Square, the central court of Somerset House in the Strand, Grosvenor Chapel on South Audley Street near Hyde Park, St. Paul's Clapham on Rectory Grove, Clapham in the London Borough of Lambeth, the Millennium Bridge, Selfridges department store on Oxford Street, Lambeth Bridge, the Tate Modern in the former Bankside Power Station, Canary Wharf, Marble Arch, the St. Lukes Mews off All Saint's Road in Notting Hill, Chelsea Bridge, the OXO Tower, London City Hall, Poplar Road in Herne Hill in the London Borough of Lambeth, Elliott School in Pullman Gardens, Putney in the London Borough of Wandsworth, and London Heathrow Airport. Additional scenes were filmed at the Marseille Airport and Le Bar de la Marine.

Scenes set in 10 Downing Street were filmed at the Shepperton Studios.

Starring	Hugh Grant Liam Neeson Colin Firth Laura Linney Emma Thompson Alan Rickman Keira Knightley Martine McCutcheon Bill Nighy Rowan Atkinson
Music by	Craig Armstrong
Cinematography	Michael Coulter
Editing by	Nick Moore
Studio	StudioCanal Working Title Films DNA Films
Distributed by	Universal Pictures
Release date(s)	7 November 2003 (limited) 14 November 2003 (US) 21 November 2003 (UK)

The TV drama clip ‘The Fear’ can be used to construct representation of social class using the following components: camera shots, editing, mise-en-scene and sound

During the extract, the social class is shown throughout the clip using four different components. The extract begins with the camera moving about from left to right, in the direction of the two characters, the camera uses a tracking movement. This camera movement has been used to show the audience the setting in which the clip is based in, the camera moves from left to right, rather than focusing on one thing i.e. the character or a particular prop. A long shot has been used by the camera which is quite effective for the audience as it shows them the ‘posh’ type room in which the clip has been set. These camera shots and angles are used so that the audience can identify the characters and the setting at once. It is obvious that social class is portrayed in the scene as the camera uses many angles to show the type of room the characters are in, as it has lavish furniture and large windows at the end of the room in which you can identify a large acre of land which can suggest that the doctors surgery and the people that work there are high class.

The sound in the clip also shows social class, this is because the first male character that appears in the clip (Richie) uses dialogue to the lady receptionist but talks down to her and it comes across as if he is belittling her, which suggests that he possesses more power than her, also because he is a man, he may feel that he has the right to talk down to her, although he is most probably the same class as the receptionist. He says “Looking for doctor Whiting” and by him speaking in a demanding and patronizing tone, makes Richie seem like a powerful and higher class character. The receptionist replies to Richie by saying, “Do you have an appointment” in a softer tone than Richie, but also comes across quite stern. This makes her look as if she is trying to show she is more powerful than him, because she may feel that she is higher class than him or that she does not wish to be spoken down to. As there is not any non-digetic sound and there is just dialogue, it builds tension when the doctor’ receptionist rebels against Richie. More dialogue is used when Ritchie replies, “Just tell him its Richie”. The receptionist replied to the patient again by replying “I’m afraid doctor Whiting can’t see anyone without an appointment” and then pauses to let Richie think but then adds “I’m afraid I’m going to have to ask you to remove your car”. This shows representation of class because the woman who is the higher class is more dominating and demanding, even though at the beginning of the clip, the male character seems more powerful than her. However, by the receptionist telling Richie to move his car, this makes her seem demanding and as if she is now talking down to him.

Editing has also been used in the extract to represent social class. An example of editing that has been used is when the camera movement moves back to the very first tracking to view the whole reception room again. The camera shot of Richie’s close up shot of his face has been edited and has been cut into a long shot. This goes from making Richie look powerful to looking smaller which suggests he may not be higher class. The next shot that is shown of Richie is the close up in the doctor’s room. This editing cut has been done from one long shot to a close up to show his facial expression. Due to Richie’s personality comes across to the audience as aggressive and patronising, it shows that he is not from a very posh or formal background unlike the receptionist who uses a formal tone of voice and vocabulary and also Doctor Whiting who is also formal and seems very dedicated and passionate about his job as a Doctor. You can see this from listening to the dialogue “What do you want Richie?” This dialogue shows that the Doctor thinks Richie must be ‘messing him around’ and wasting his time by joking about. It represents class because the Doctor is clearly from a higher class than Richie and is looking down onto Ritchie who seems to be upsetting or annoying people in the reception area.

Mise-en-scene in both scenes has been portrayed to represent social class because in the reception area and then into the doctor’s room both show representation of class. The reception area is very large, with props used to show that the doctors is for higher class people as the furniture is very posh, such as the couch and the receptionist’s large, wooden desk. The receptionist’s costume is also very smart and formal, much more formal than an ordinary, middle class’ receptionist’s clothes. Even though Richie is in a suit and comes across as quite formal from his costume, the way he presents himself by picking up the prop, a computer keyboard and almost hits the receptionist with it, he comes across as intimidating and violent. This makes Richie look like he is from a high class by being demanding to the receptionist and coming across as powerful. After Doctor Whiting comes to see what the fuss was bout, he sees Richie at reception and caught him with the keyboard prop in his hand and about to swing at the woman.

Overall, social class has been represented in this clip by the use of sound, Mise-en-scene, editing and camera shots. Camera shots and angles are effective by making the character look more or less powerful which can represent their class type and the higher class looking powerful. The sound and dialogue plays a big part in the clip because the tone of voice i.e. the formal language or tone they use can make them seem high class because of their background and the way they have been brought up makes them speak in a different way to those who are from a middle class background. 

Textual Analysis

• -representation is linked to economic forces
• -representation is shaped by technology, which is described as a fragmented audience

• textual analysis is an advanced form of media literacy and a basic level of it allows somebody to understand the narrative of a tv drama and to make criticisms in relation to other programmes

• For us to deconstruct a tv drama we need to know how its been put together and to do this we need to work at micro and macro levels of the text

• micro level means pulling apart aspects of the texts frame by frame construction

• frame construction includes camera angles and the movement, shot types, editing transitions music/sound effects and mise-en-scene (lighting choices, props and costumes)

• To work at macro level it means drawing up conclusions from micro work about how the sequence represents themes and people

• also witness the interpretations that viewers will create

Representation 

• when people say did you watch the game last night?' you would say yes but strictly speaking your not..because your are really watching a meditated constructed re-presentation of the match

Metaphor

• Gauntlett (2007 developed a research method using lego, he asked people to make a metaphorical model with the lego so it represents their identity, he didn't expect them to make models that resemble them so that way he can get a better sense of how people see themselves and present them

Verisimilitude

• when we look at how a media text represents the world we are usually concerned with the representation of age, gender, ethnicity social groups, places and themes

• to explore representation in a tv/radio drama we will be asking

• What kind of realism is being attempted by the programme, who is being represented in the drama, who is not being represented and why, whether we can identify any stereotypical characters, is there a dominant view of the world that has been represented and what different responses might the audience members make to the representations.

Representational codes

• 'Life On Mars' is a good example of a tv drama that is rich with representational codes. the drama depends on the juxtaposition. Without the audiences complicity in understand the contrast the text is meaningless.

Chapter 2.1- TV drama

• British TV still attracts huge viewing audiences and many of the shows are watched as one off peak time broadcasts
• drama series has huge potential to produce ongoing revenue through sales to other countries and channels as well as DVD sales, but 'propor TV drama' brings prestige to institutions that attempt to make it
• but british TV drama is no longer as big as it was

• Connolly concludes that while British TV drama is now something of a poor relation in comparison to the america producer, it is still a fairly healthy state
• camera shots- establishing shot, master shot, close up, mid-shot, long shot, wise shot, two shot, aerial shot, point of view shot and over the shoulder shot

• camera angles- high, low and canted angle

• camera movement- pan,tilt, track,dolly,crane, steadicam, hand-held, zoom, reverse zoom

• camera composition- framing, rule of thirds, depth of field, deep and shallow focus, focus pulls

• editing- transition of image and sound, continuity and non systems, cutting, shot/reverse shot, eyeline match, graphic match, action match, jump cut cross cutting, parallel, editing, cutaway, insert, dissolve, fade in and out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time

• sound-diegetic, non, synchronous, sound effects, sound motif, sound bridge, dialogue, voiceover, model of address, sound mixing, sound perspective, soundtrack, score, incidental music themes, ambient sound

• Mise-en-scene- production design, location, studio, set design, costume and makeup, properties, lighting, colour design

Background to TV drama

there are different types of tv drama that have different conventions

• teen dramas
• soap operatas
• costume dramas
• medical/hospital dramas
• police/crime dramas
• docu dramas

Teen dramas

• it is a broad sub-genre, generally these are concerned with striking an entertaining balance between social issues that are of concern of the target audience, and creating an attractive representational range of recognisable character types. But the other issue of it is should kids copy the negative behaviour they see?

Examples of teen dramas such as 'grange hill' can be views as a social document that represents a range of social changes.

• teen dramas are unlike the rest of our examples as they do not set out to appeal to such a broad audience

Soap operas

• the soap opera format can be a area of study in its own right and can be the important interplay is between the micro and the macro elements of textual analysis.

• soap operates rely on intertexual or extra textual meanings. However soap trailers have become increasingly sophisticated.

• terms of popularity we need to consider whether the reason for the longevity of the pleasure offered by these texts is to do with representation

Period dramas

• not all of them are literacy adaptation but they do account for a substantial part of the sub-genre.

• period drama is expensive to produce because of the high demands and fees earned by the kinds of acting personnel expected by the audience.we can say that they tend to be more 'filmic' in quality and that those that are based on literature will represent people and issues largely in keeping with the original novel or play

Hospital dramas

• they balance two different narrative themes; public health and the treatment of illness and workplace interactions and relationship, this shares many conventions with soap operas

• they feature a range of character types that are referred to as stereotypes

Crime dramas

• there are 2 kinds; one off crime tends to focus on the kinds of crime that create the most anxiety among the viewing public and long running tv crime dramas will have a variety of sub-plots over time that build up sustained audience interest, each one will have its own unique representational aspects that are not directly related to the crime being investigated

• media representations of crime normally set up 5 key binaries

• crime/the police, criminals/the justice system, lawyers versus courts, social workers versus the police and victims versus the public, each one can be analysed using this system to get a sense of how each programme represents crime and law differently