Set in 5,000 acres of private estate on Lake Windermere, within close proximity of Hawkshead and Beatrix Potter's home, this 17th Century Country House is ideal for family holidays, group celebrations, romantic breaks and activity holidays.
Socialise in style in the stunning lounge with breathtaking feature fireplace, celebrate with family and friends in the magnificent dining room, relax and unwind in the luxurious bedrooms and enjoy the beautiful grounds and stunning topiary that surrounds.
Our 9 luxurious bedrooms are unique and individually decorated.
Selection of rooms include our Superior King Suites, Deluxe Four Poster and Family Suites.
All rooms are beautifully appointed with high-quality mattresses, Egyptian cotton bed linen, fluffy towels and locally sourced hand-made toiletries.
Built originally as the dairy for Low Graythwaite Hall, Dairy Cottage offers quality accommodation in a unique setting, standing next door to the 17th Century Country House.
This cosy cottage offers a bright and comfortable accommodation with a lovely lounge/diner, a smart contemporary kitchen, three cosy bedrooms (2 doubles and 1 twin) and family bathroom.
We pride ourselves on helping you streamline the best places to go in order to ensure that you get the maximum out of your stay with us.
Our in-house Concierge Service offers delicious catered dinners and exclusive restaurant bookings. We also offer activities such as 4x4 off-road driving, bike hire, kayak hire, stand up paddle boarding, clay pigeon shooting, archery, guided walks, direct from your doorstep.
There are hundreds of beautiful walks near to Windermere and the lakeshore that are within easy reach of the accommodation. Whether you are looking for a gentle woodland stroll, a ramble exploring Lakeland heritage or a vigorous hike up some beautiful fells, there always a walk to suit you.
Set in 5,000 acres of Private Estate on the shores of Lake Windermere, within close proximity of Hawkshead, Beatrix Potter's Home in Near Sawrey and Newby Bridge.
If you are looking for a break in a quiet location in a unique property with beautiful rooms then this is the place for you.


Field trips offer a chance for students to learn outside the classroom. Field trips are provided over the course of the school year, and depending on grade level typically include excursions throughout the Toledo area. Information regarding field trips, times, and locations will be provided to the parents by classroom teachers and administration.
Counselor provides free counseling for students enrolled in the school. This program is offered based upon their assessment of the child. All students are eligible to participate in the counseling program through recommendation.
Students living 1-5 miles from STAR Academy may benefit from free bus transportation provided by Trinity Transportation. Families must apply for this service by filling out the Transportation Request Form and turning it in to the school office.
Healthy bodies fuel healthy minds! All students receive free breakfast and free lunch each school day as part of the National School Breakfast and Lunch Program. Each healthy meal is prepared on campus and includes protein, fruits, vegetables, whole grain products, and milk. Throughout the week, we also offer fresh fruit and vegetable snacks in between meal times.
We observe a strict dress code policy for all grade levels as a way to help our school stay focused on academics and help our families keep wardrobe costs affordable. Read our entire Dress Code Policy here.


As we move into winter break and the holiday season I hope you take an opportunity for a well-deserved pause before IAP.
Thanks for all of your hard work, diligence, and energy on behalf of our students, faculty, and staff. It's amazing to see how far we've come at OVC and to reflect on all that we've accomplished, from enhancing the first-year undergraduate experience to building a strategic roadmap for improving the graduate experience to working together, and coming together, as a team after the organizational changes.
Here at MIT new innovations and initiatives tend to get a lot of the attention and buzz. While such attention is deserved, I encourage you to take stock in all the ways you and your colleagues have, each and every day, been committed to excellence. Whether that was by helping students with their finances, sharing expertise on pedagogy, offering advice on careers, making MIT a little more welcoming and warm, or simply being there as a mentor, friend, or cheerleader, all of those things help make MIT a wonderful place.
It fills me with pride to see all the ways OVC is building a better world within MIT—and beyond.
Again, thank you and best wishes for the holidays and a bright and brilliant New Year.


text:
Office of the Dalai Lama issues clarification on Dalai Lama's controversial remarks on immigrants and female successor
by Sam Littlefair| June 27, 2019
In a new interview, the Dalai Lama said Trump lacks moral principle, refugees should ultimately return to their homeland, and any future female Dalai Lama should be attractive.
In a new interview with the BBC, the Dalai Lama said he thinks President Trump lacks moral principle and restated past opinions about a female successor and refugees in Europe.
The interview was conducted by BBC's South Asian correspondent, Rajini Vaidyanathan. When Vaidyanathan asked the Dalai Lama what he thinks of Donald Trump in office, the Dalai Lama responded,
One day he says something, another day he says something, but I think [there's a] lack of moral principle… When he become president he expressed: 'America first.' That is wrong. America, they should take the global responsibility.
Later in the interview, Vaidyanathan asked the Dalai Lama about his past statement that migrants should eventually return to their home countries — a view of the Dalai Lama's sometimes quoted in anti-immigration campaigns.
Update, July 2, 2019: The Office of the Dalai Lama has released a statement clarifying the Dalai Lama's remarks. The clarification emphasizes that the Dalai Lama "meant no offence" by his statement about his successor and is "deeply sorry." It also says that the joke originated in 1992 when the Dalai Lama was guest-editing Vogue, suggesting that the joke was "amusing" in that cultural context, but the humor may have been lost in translation.
The statement also adds context to the Dalai Lama's remarks on immigration, saying, "He certainly appreciates that many of those who leave their countries may not wish or be able to return." The statement explains that Tibetans "cherish the idea of returning home."
His Holiness reaffirmed his past statements that Europe should welcome and support refugees with the aim that they can eventually return to their homeland. Asked if refugees should be allowed to stay in Europe, the Dalai Lama responded,
Limited number… OK. But whole Europe eventually become Muslim country? Impossible. Or African country. Also impossible… They themselves, I think better to their own land. Better. Keep Europe for Europeans.
Vaidyanathan also asked the Dalai Lama about a statement he made in 2015, that a female Dalai Lama "must be attractive. Otherwise it's not much use." When Vaidyanathan cited the quote, the Dalai Lama laughed, "Yes." He then doubled down on his remarks.
"If female Dalai Lama comes, then she should be more attractive. If female Dalai Lama," he pantomimed unattractiveness by scrunching up his face, "Oh, oh… Then people, I think prefer not see her, that face."
Read the full transcript below:
The Dalai Lama on Donald Trump
Dalai Lama: His emotions also, little bit…too complicated.
Rajini Vaidyanathan: What do you mean by that? What do you think of him in office?
One day he says something, another day he says something, but I think [there's a] lack of moral principle.
When he become president he expressed: 'America first.' That is wrong. America, they should take the global responsibility.
… on Brexit
I am one admirer of [the] spirit of [the] European Union. I'm outsider but I feel better [to] remain in the union.
The campaign to leave the European Union used one of your quotes in their posters. It said: 'The goal should be that migrants return and help rebuild their countries. You have to be practical. It's impossible for everyone to come.'
The European countries should take these refugees and give them education and training and then aiming is – return to their own land.
And if these people want to stay in Europe, shouldn't they be allowed to?
Limited number… OK. But whole Europe eventually become Muslim country? Impossible. Or African country. Also impossible.
There's nothing wrong with that, is there? I mean, you're a refugee yourself.
They themselves, I think better to their own land. Better. Keep Europe for Europeans.
… on Tibet
Have you given up the hope of returning?
No, no, no. Tibetan people very much showed their trust in me, so they are very, very eager. Many old people, with tears, they ask me: 'Please come to Tibet.'
So how would that happen, Your Holiness?
Now, China is changing.
… on China
So you have had contact.
in the last few years with Chinese officials? Who?
Entirely privately. Number of Chinese retired officials and some scholars who have some connections with Chinese government.
Has President Xi ever asked you for a meeting?
Do you think China's growing influence is having an impact on your own influence and the cause of Tibet?
I don't care. No. I think the Chinese themselves is changing
their attitude.
… a female successor?
You once said that you would be open to a female successor.
That's also possible.
You also told one of my colleagues that: 'That female must be attractive otherwise it's not much use.'
[Laughs] Yes.
Can you see why that comment upset a lot of women?
That is one time. If female Dalai Lama comes, then she should be more attractive. If female Dalai Lama… Oh, oh… That people, I think prefer, not see her, that face.
A lot of women would say that's objectifying women and it's about who you are inside isn't it?
Yes, I think both.
About Sam Littlefair
Sam Littlefair is the editor of LionsRoar.com. He has also written for The Coast, Mindful, and Atlantic Books Today. Find him on Twitter, @samlfair, and Facebook, @samlfair.
Topics: Dalai Lama, Donald Trump, News Media, Politics & Society, Women
Heal the Wounds and Trauma
by DaRa Williams
A Buddhist Perspective on Women's Liberation
by Bhikkhu Bodhi
Review: "Cinderella Liberator" by Rebecca Solnit

redpajama_set_name: RedPajamaCommonCrawl


Canon and Nikon have offered "pro" grade repair and support to photographers eligible for their professional services for quite some time now. With the rise of the GFX50S, Fuji launched their own service, Fuji Professional Services (FPS). Normally, when you have gear malfunctioning you might be expected to go through your retailer who will then send it off to the manufacturer for repair, but this service cuts out the middle man with a direct line to the manufacturer. In theory this means a faster and better service which could come in handy if your camera breaks down a couple of days before your big commercial shoot.
The cost is £260 per year but at the moment it's free if you fulfil certain criteria, like owning a GFX body and a GF lens. See here for full list of criteria.
Fortunately, there was nothing wrong with my GFX or any of my lenses but I wanted to evaluate the service while it was free to help me decide if it would be worthwhile in the future. I did have a spot on the sensor which needed cleaning, and as a sensor clean is included in the annual free health check, I made a booking online. Before doing that I called Fuji and asked how long it would take and they said seven working days. I almost immediately received a confirmation number in the email along with a link to track the progress of my repair and a form to print and include with my items before sending them to Fuji.
The day after my booking, a big box arrived containing two smaller boxes with foam padding and a plastic bag with prepaid shipping labels attached. The smaller boxes seemed well protected but I would have preferred to use the larger box everything came in for my return instead of the plastic bag. I actually managed to tear the plastic bag with the sharp corners of the smaller boxes, but some tape took care of that. I took the bag to the post office and received my receipt with a tracking number for next day delivery.
So far so good, but there were a few potholes in the road before my camera was returned to me.
I sent the camera to Fuji on a Monday, and I received notification of the return on the Thursday and the camera itself arrived the Friday of the same week.
The sensor was clean as a whistle and no faults detected with either the camera or the lens, not that I expected them to find any problems. The memory cards I had forgotten to remove before I sent Fuji the camera were still in the camera along with a bonus battery the Fuji engineers had themselves forgotten to remove before returning my camera.


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Tell Me My Story: Creators Move Forward To Change Women Roles
by Michele Weldon
gender equality, Michele Weldon, representation, television, women in film
Julie Kalceff (left) and Rosie Lourde are working to have more diverse women's stories in the mainstream.
Her biggest hint may have arrived in film school.
As a graduate student at the Australian Film, Television and Radio School, writer, director and producer Julie Kalceff says, "I found the process to have predominantly male students. Film and TV traditionally are not terribly inclusive. I was frustrated by the industry."
Working in film and television for the past 15 years, Kalceff says, "I was not telling the stories I wanted to tell; stories were about straight white men. I tried to be that person and write those stories but I was not creatively satisfied."
That has changed since she and producer/actor Rosie Lourde developed the web series, Starting From Now, one of Australia's most successful mult-iplatform dramas spanning five seasons, earning awards, reaching 33 million views online in 230 countries around the world and now on broadcast TV.
According to Kalceff, 20 percent of the fans are in the U.S., with 8 percent each in France, the United Kingdom, Germany and Australia. "We have a large viewership throughout the Middle East, with people literally hiding in the closet to watch."
#StartingFromNow is working to have more diverse women's stories in the mainstream Click To Tweet
The show about four queer women in Australia was exclusively online for the first three seasons, then picked up by Australian broadcast TV for seasons four and five. the process has taught both Kalceff and Lourde lessons on daring, creative leadership, networking and standing up for the diverse ideas and stories that need to be told.
"We were able to make a web series, make content and stories that are diverse about sexuality," Kalceff says. "They did not have it in the mainstream. Traditional media is risk averse, people just want to keep making the same shows."
Lourde, an award-winning actress who has partnered on the series since 2013 with Kalceff, agrees. "We have had conversations with broadcasters, who said, we already have 'The L Word,' why do you need another one?" That Showtime series about a group of lesbian friends ended in 2009, and is available online.
"I feel like things are changing, but not as fast as we would like them to," Kalceff says. "It's a no- brainer about women. We need more diverse stories."
That notion is at the heart of Ava DuVernay's latest push for more women directors working in Hollywood. As the first black woman director to earn an Oscar nomination as director of "Selma," DuVernay is also at the helm of Disney's "A Wrinkle in Time," and many other projects. Those include "Queen Sugar," now in its second season.
"For Season 2 of 'Queen Sugar,' DuVernay was again determined to give more women — especially gay women and women of color — the chance to work. Instead of going through the typical Hollywood channels, she sought filmmakers whose intimate, character-driven work had inspired her over the years, even resorting to tracking people down through Twitter," writes Meredith Blake in The Day.
"The 'Queen Sugar' roster includes women who rank as 'some of the greatest independent filmmakers to come out of the festival circuit in the last 10 years' but have, nevertheless, struggled to work in the business, says DuVernay, who has a distribution company called Array," Blake writes.
"According to the Directors Guild of America. a mere 17.1 percent of TV episodes in the 2015-16 season were directed by women, up a smidge from 15.8 percent the previous year," Blake writes.
The low numbers for women in Hollywood are mirrored elsewhere.
The low numbers for #WomenInHollywood are mirrored elsewhere Click To Tweet
The study, "The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and 500 Films of 2016," for the past 19 years, has tracked the top-grossing movies and bills itself as 'the longest-running and most comprehensive study of women's behind-the scenes employment in film available,'" writes Lisa Respers France in CNN.
"According to the study, only 7 percent of directors among the year's top 250 grossing films were women, down from 9 percent in 2015. All told, women made up 17 percent of all directors, writers, producers, executive producers, editors and cinematographers working on the year's top films — a 2 percent drop from 2015," France writes.
"For the top 500 films — which included more independent movies — women accounted for 19 percent of all directors, writers, executive producers, producers, editors and cinematographers — also a 2 percent decline from 2015," according to France.
The paucity of women in film and TV production globally is why women need to mentor other women and foster relationships with each other in order to help each other succeed. This is an enormous opportunity for women leaders to partner, mentor, network and support other women leaders.
The paucity of women in film and TV is why women need to mentor other women #LeanInTogether Click To Tweet
That action step is the basis of Leadership Power Tool # 7, created by Gloria Feldt, co-founder and president of Take The Lead. "Take Action; Create a Movement," is the Power Tool that affirms: "Things don't just happen. People make them happen in a systematic way. And you can change systems. Apply the three movement building principles of Sister Courage (be a sister, act with courage, put them together to create a PLAN) and you will realize your vision at work, at home, or in public life."
Kalceff would agree.
"This is a culture of gatekeepers," Lourde says. "It is a real shift that women are starting to reach out and shepherd each other through. That hasn't always been the case." She adds, "100 percent of this industry is all about relationships. We are relying on relationships building as we go."
She adds, "We have a responsibility to women and other creatives. Information is a source of power."
Some of that power translates to economic power, as the phenomenon that is "Wonder Woman," passes the $700 million mark at the box office.
After five weekends in release, "its box office performance is an impressive feat. These numbers now ensure (barring some bizarre and highly unlikely calamity) a final cume (cumulative) between a low-end figure of $750+ million and a high-end of $800 million," writes Mark Hughes in Forbes.
"If that seems surprisingly high, and if the prospects of a high-end $800 million performance make you skeptical, think again. With around $675 million worldwide in the tank and a likely $30-35 million coming in from all global markets, even if the weekly declines rise into the 40-50 percent range, Wonder Woman is still adding tens of millions to its cume for several more weeks from existing markets before it opens in Japan in August. That's already enough to push it well past $750 million. So declines in the 30-35 percent range (rather than the 40-50 percent range), plus a good performance in Japan, would start to make $800 million a realistic possibility," Hughes writes.
"It is not just the success of the movie that will help women in the industry, but I've never seen a character like her, so driven so fearless, so vulnerable, sexy without being sexualized," says Lourde, who says she began learning the ropes in this industry by working hard and immersing herself in the skills needed. "This is the movie I had been wanting to see as a kid."
Other critics view the Wonder Woman effect not as a starting point, but perhaps as a tipping point.
"Jenkins' latest effort may have demolished female stereotypes for superheroes and director genders alike, but she is not alone. Other female directors have been paving the way by challenging the glass ceiling and breaking into the coveted $100 million club for decades," writes Julia Pierrepont III in English. Sina.
"Jennifer Yuh Nelson (Kung Fu Panda 2), Catherine Hardwicke (Twilight), Vicky Jensen (Shrek), Kathryn Bigelow (Zero Dark Thirty), Amy Heckerling (Look Who's Talking), Mimi Leder (Deep Impact), and Betty Thomas (Alvin and the Chipmunks) are just a few of the heavy-hitting female directors who have easily topped $100 million in receipts on their big budget releases, Pierrepoint writes.
Yet, the problem of the near invisibility of the stories of women in television and film overall remains a concern.
"At the Cannes closing-night jury news conference recently, the star of 'Zero Dark Thirty' spoke to the 'disturbing' narrowness of the female images she'd seen in the previous 10 days of festival jury duty," writes Michael Phillips in the Chicago Tribune.
"Jessica Chastain did the math Hollywood occasionally does and then forgets, near-instantaneously. 'If you have more female storytellers, you also have more authentic female characters," Chastain said, adding: 'When we include more female storytellers we will have more of the kinds of women that I recognize in my day-to-day life. Ones that are proactive, have their own agencies, don't just react to the men around them (and) have their own point of view.'"
Kalceff and Lourde agree completely.
To increase the number of diverse women's stories in the marketplace, Kalceff and Lourde are working on a new series, "Torn." It is about "two school friends who haven't seen each other, one has a child, they have unresolved feelings for each other, and are torn between nostalgia and this thought that this might be my one chance at true happiness."
It is a story that has not been seen before this way. And that is what is needed in the film and TV industries. What is at the heart is belief in the story and that it will resonate.
"My advice would be to trust your voice as women, and not just women, but women of color. We are taught at a young age that our stories don't matter, we don't count," says Kalceff, who won the Audience Award at the Mardi Gras Film Festival for "Starting From Now," as well as other top awards from the LA WebFest in 2016 and the SheWebFest in 2015.
Her best advice of all is simple. "Trust there is a story to tell, get a story to tell, and tell it with integrity and honesty."
Michele Weldon is editorial director of Take The Lead, an award-winning author, journalist, emerita faculty in journalism at Northwestern University and a senior leader with The OpEd Project. @micheleweldon www.micheleweldon.com
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British Board of Film Classification
"BBFC" redirects here. For other uses, see BBFC (disambiguation).
Find sources: "British Board of Film Classification" – news · newspapers · books · scholar · JSTOR (August 2011) (Learn how and when to remove this template message)
Film ratings, Television ratings
Patrick Swaffer
bbfc.co.uk
The British Board of Film Classification (BBFC, previously the British Board of Film Censors), is a non-governmental organisation, founded by the 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.[1][2] 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.[3] The BBFC is also the designated regulator for the forthcoming UK age-verification scheme.[4]
1 History and overview
1.1 Change of name and scope
2 Responsibilities and powers
2.2 Film certifications
2.3 Video releases
2.4 Editing
2.6 Mobile operators
2.7 Websites
3 Current certificates
3.1 Age-verification certificate
4 Attitudes to censorship
4.1 Relaxation
5 Current concerns
6.1 Presidents of the BBFC
6.2 Directors of the BBFC
History and overview[edit]
British Board of Film Censors 'U' certificate for Berlin Airlift (1949)[5]
The BBFC was established in 1912 as the British Board of Film Censors by members of the film industry, who would rather manage their own censorship than have national or local government do it for them. 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 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.[6] Although the clergy were invited to see it and found little to be affronted by,[6] the controversy resulted in the voluntary creation of the BBFC, which began operating on 1 January 1913.[7]
The Board's legal basis was the Cinematograph Act 1909, which required cinemas to have licences from local authorities. The Act was introduced for safety reasons after a number of nitrate film fires in unsuitable venues (fairgrounds and shops that had been hastily converted into cinemas) but the following year a court ruling[8] determined that the criteria for granting or refusing a licence did not have to be restricted to issues of health and safety. 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 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. 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.[9] 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.[10] Some decisions from the early years are now subjected to derision. In 1928, the Board's examiners report famously claimed that Germaine Dulac's surrealist film The Seashell and the Clergyman was "Apparently meaningless" but "If there is a meaning, it is doubtless objectionable".[11]
Informal links, to varying degrees of closeness, have been maintained between the BBFC and the Government throughout the Board's existence. In the period before the Second World War, an extensive but unofficial system of political censorship was implemented by the BBFC for the Home Office. As the cinema became a socially powerful mass-medium, governments feared the effect of its use by others for propaganda and as happened in the Soviet Union and Nazi Germany discouraged any expression of controversial political views in British films. This trend reached its climax during the 1930s. Following protests from the German Embassy after the release of a film depicting the execution of Edith Cavell (Dawn, 1928, dir. Herbert Wilcox), intense political pressure was brought to bear on the BBFC by the Home Office. A system of script vetting was introduced, whereby British studios were invited to submit screenplays to the BBFC before shooting started. Imported Hollywood films were not treated as strictly as British films, as the BBFC believed that audiences would recognise American cinema as representing a foreign culture and therefore would not apply any political messages therein to their own lives. So while the Warners gangster films and other 1930s Hollywood films that dealt explicitly with crime and the effects of the Great Depression were released in the UK largely uncut, these subjects were strictly off-limits for British film-makers.
During the Second World War, the BBFC's political censorship function effectively passed to the Films Division of the Ministry of Information, and the BBFC never regained this to the same extent as before the war. The increasing climate of post-war liberalism ensured that from the 1950s onwards, controversies involving the BBFC centred more on depictions of sex and violence than on political expression. There were some notable exceptions: Yield to the Night (UK, 1956, dir. J. Lee Thompson), which opposed capital punishment; Room at the Top (UK, 1959, dir. Jack Clayton), which dealt with class divisions; Victim (UK, 1961, dir. Basil Dearden), which implicitly argued for the legalisation of homosexuality, all involved the BBFC in controversy.
In autumn 1972, Lord Longford and Raymond Blackburn decided to pursue a matter of pornography classification for the film Language of Love[12] into the Court of Appeal of Lord Denning, MR, and lost the writ of mandamus against the Police Commissioner, who had refused to intrude upon the BBFC remit.[13][14][15]
Change of name and scope[edit]
In 1984 the organisation changed its name to "reflect the fact that classification plays a far larger part in the Board's work than censorship".[16][17] At that time it was given responsibility for classifying videos for hire or purchase to view in the home as well as films shown in cinemas. Home video and cinema versions of a film usually receive the same certificate, although occasionally a film may receive a more restrictive certificate for the home video market (sometimes due to the bonus features), as it is easier for children to watch a home video than to be admitted into a cinema.
In December 1986, the first computer game to be certified by the BBFC was an illustrated text adventure called Dracula, based on the Bram Stoker novel, published by CRL, the game received a 15 certificate.[18] The first computer game to receive an 18 certificate, on 11 December 1987,[19] was another illustrated text adventure called Jack the Ripper, also by CRL, which dealt with the infamous real life murders in Victorian London. The horror in both games came through largely in their detailed prose. Had the game publishers reprinted the games' text in book form, it would not have carried a certificate, as the BBFC has no oversight over print media. Both games had numerous certificate stickers all over their covers to emphasise to parents and retailers that they were not intended for children, as computer games carrying BBFC certificates were previously unheard of.
The first video game to be refused classification by the BBFC was Carmageddon in 1997, however a modified version of the game was later awarded an 18 certificate. In June 2007, Manhunt 2 was refused classification in both its PlayStation 2 and Wii versions, meaning that the game was illegal to sell or supply.[20] A modified version was made that was accepted by the ESRB but was still refused classification from the BBFC. The second decision was later overturned by the Video Appeals Committee (an independent body set up by legislation); the BBFC then asked the High Court for a judicial review of the VAC decision.[21] The High Court ruled that the VAC had made errors in law and instructed it to reconsider its decision, the VAC subsequently ruled that the modified version of the game should receive an 18 certificate, which the BBFC accepted.[22]
On 16 June 2009, the UK's Department of Culture, Media and Sport ruled in favour of the PEGI system to be the sole classification system for videogames and software in the UK. This decision would also, unlike beforehand, allow PEGI ratings to be legally enforced much like the BBFC ratings.[23] Initially expected to take effect from 1 April 2011,[24] the legislation was put into effect on 30 July 2012.[25]
Responsibilities and powers[edit]
The Board is a self-funded QUANGO.[26][27][28] Its business affairs are controlled by a council of management selected from leading figures in the manufacturing and servicing sectors of the film industry. This council appoints the President, who has statutory responsibility for the classification of videos and the Director who has executive responsibility and formulates policy. The Board, which is based in Soho Square, London, is financed from the fees it charges for classifying films and videos and is run on a not-for-profit basis.
Cinema[edit]
In the case of films shown in cinemas, local authorities have the final legal authorisation over who can view a particular film. The majority of the time, local authorities accept the Board's recommendation for a certificate for a film. There have been some notable exceptions – particularly in the 1970s when the Board allowed films such as Last Tango in Paris and The Exorcist to be released with an X certificate (essentially the same as today's "18") – but many local authorities chose to ban the films regardless. Thirty-nine local authorities in the UK either imposed an outright ban, or imposed an X certificate, on Monty Python's Life of Brian, which the BBFC had rated as AA (Suitable for ages 14+).[29]
Conversely, in 2002, a few local authorities regraded Spider-Man from 12 to PG, allowing children younger than 12 to see the film. However, the BBFC were already in the process of replacing the 12 rating with a new 12A, which allowed under-12s to see the film if accompanied by an adult, so shortly afterwards, the BBFC reclassified Spider-Man as 12A. The first 12A certificate awarded was for The Bourne Identity.[30]
Film certifications[edit]
All films rated by the BBFC receive a certificate, along with "consumer advice" detailing references to sex, violence and coarse language. If a certificate specifies that a film or video game is only suitable for someone over a certain age, then only those over that age may buy it.
The BBFC rates theatrically released films, and rates videos and video games that forfeited exemption from the Video Recordings Act 1984, which was discovered in August 2009 to be unenforceable until the act was re-enacted by the Video Recordings Act 2010.[31] Legally, local authorities have the power to decide under what circumstances films are shown in cinemas, but they nearly always choose to follow the advice of the BBFC.
Video releases[edit]
The Video Recordings Act requires that video releases not exempt (music, documentary, non-fiction, video games, etc.) under the Act had to be classified, making it illegal to supply any recording that had not been certified. Certificates could restrict release to any age of 18 or under, or to only licensed sex-shops. The government currently designate the BBFC as the authority for certifying video releases. As the law requires the certificate to be displayed on the packaging and media labels of the video recording, in practice only UK releases can be legally sold or hired in the UK, even if a foreign release had identical content.[31]
Local authorities do not have such power for video recordings. Under the Video Recording Act 1984, all non-exempt recordings must be classified by an authority chosen by the Secretary of State for Culture, Media and Sport. This classification is legally binding, in that supply of material contrary to its certificate (recordings that have been refused a certificate, or supplying to someone younger than the certified age) is a criminal offence. However, possession is not an offence in itself, other than in the case of "possession with intent to supply". Since the introduction of the Act, the BBFC has been the chosen authority. In theory this authority could be revoked, but in practice such a revocation has never been suggested, since most local authorities simply don't have the resources needed to do such things as remove cuts, pass films that the BBFC rejected and vice versa, put in place new cuts, etc., regularly.[32]
Editing[edit]
The BBFC can also advise cuts for a less-restrictive rating. This generally occurs in borderline cases where distributors have requested a certificate and the BBFC has rated the work at a more-restrictive level; however, some cuts are compulsory, such as scenes that violate the Protection of Children Act 1978 or Cinematograph Films (Animals) Act 1937. The final certificate then depends on the distributor's decision on whether or not to make the suggested cuts. Some works are even rejected if the distributor refuses the cut.
The examiners and the directors of the BBFC are hired on a permanent basis. Examiners are required to watch 5 hours 20 mins of media, to a maximum of 35 hours a week. Turnover is low and vacancies, when available, appear on its London job vacancies website.[33]
Video games[edit]
The BBFC has also rated some video games. Normally these are exempt from classification, unless they depict human sexual activity, human genital organs or gross acts of violence, in which case the publishers should submit the game for classification. Publishers may opt to submit a game for classification even if they are not obliged to.
Under the Digital Economy Act 2010, the responsibility for rating video games in the United Kingdom has passed from the BBFC to the Video Standards Council using the PEGI system.[34] A game is only submitted to the BBFC if it contains strong pornographic material or if it includes video material that is not directly accessible through the game itself (e.g. a documentary).
Mobile operators[edit]
The BBFC also provide a classification service for mobile phone operators. BBFC guidelines for film and video are used to calibrate the filters used by the operators to restrict access to internet content. The default assumption is that mobile phone users are under 18 years of age. The BBFC guidelines are based on public consultations conducted every 4–5 years.[35]
Websites[edit]
See also: Age verification system § United Kingdom
The BBFC is the regulator responsible for designating which of the websites accessible in the UK are commercial pornographic websites. If those websites do not age-verify their users, the BBFC is empowered to take action against them, including placing restrictions on their payment transactions or ordering their blocking by Internet service providers. This is the case regardless of whether the websites are UK-based or foreign-based. The introduction of such a regulator was a consequence of the Digital Economy Act 2017. The BBFC had been informally named as the likely regulator in 2016[36][37] and in November of that year it was invited to take on the role and agreed to do so. The formal appointment of the BBFC took place in February 2018. Before beginning its role, the BBFC conducted a public consultation on its draft guidance. The consultation began in March 2018.[38][39] In 2018 the BBFC estimated that 5 million commercial pornographic websites existed on the Internet.[40]
In March 2019 the BBFC published its guidance, which stated that social media would not fall under the BBFC's jurisdiction, and nor would websites where pornography makes up a third or less of the website's material. The BBFC proposed that a voluntary certification scheme should cover age verification providers. Margot James, the UK government's digital minister, said that the government had asked HM Treasury to provide indemnity of up to £10 million to the BBFC to protect it against legal challenges, as the uncertainty surrounding the possibility of such challenges would leave the BBFC unable to get commercial insurance.[41]
Current certificates[edit]
See also: History of British film certificates
The BBFC currently issues the following certificates. The current category symbols were introduced in September 2002, replacing the previous ones that had been in place since the 1980s.
Universal All ages admitted. There is nothing unsuitable for children aged 4 years and over, but parents may wish to check before allowing a very young child to view the film. May contain infrequent very mild language. May contain very mild sex references and mild violence, if justified by the context. Until 2009, there was also a Uc "Universal Children" certificate, for videos that are particularly suitable for young children.
Guidance All ages admitted, but some certain scenes can be unsuitable for young children. They should not disturb children aged 8 or older, but parents should check before allowing a younger child to view the film. May contain mild language (frequent/aggressive use may result in the work being passed at a higher category) or sex/drug references. May contain moderate violence if justified by context (e.g. fantasy).
12A This category was introduced in 2002, and applies only to cinema releases. Films under this category are considered to be unsuitable for young children. Cinemas in the United Kingdom are only permitted to supply tickets to see a 12A film to children under the age of 12 if they are accompanied by an adult aged 18 or over. May contain adolescent themes, discrimination, soft drugs, moderate language, moderate violence, sex references and nudity. Sexual activity may be briefly and discreetly portrayed. Use of strong language may be permitted based on frequency and how they are used, as well as contextual justification. Sexual violence may be implied or briefly indicated.
12 This category applies to cinema releases from August 1989 to 2002, and home media since 1994. Suitable for people aged 12 and older. It is illegal to supply a video work with a 12 certificate to anyone under that age.
12A-rated films are usually given a 12 certificate for the VHS/DVD version unless extra material has been added that requires a higher rating.
15 Suitable only for people aged 15 and older. No one younger than 15 may be admitted to a 15 film in a cinema. It is illegal to supply a video work with a 15 certificate to anyone under that age. May contain mature themes, hard drugs, (frequent) strong language, strong violence and strong sex references, and nudity without graphic detail. Sexual activity may be portrayed but without any strong detail. Sexual violence may be shown if discreet and justified by context. Use of very strong language may be permitted based on frequency and how they are used, as well as contextual justification.
18 Suitable only for people aged 18 or older, No one younger than 18 may be admitted to an 18 film in a cinema. It is illegal to supply a video work with an 18 certificate to anyone under that age. Films under this category do not have limitation on the foul language that is used. Portrayals of illegal drug misuse are generally allowed, and explicit sex references along with detailed sexual activity are also allowed. Scenes of strong real sex may be permitted if justified by the context (Sex works cannot be placed at "18"). Very strong, gory, and/or sadistic violence is usually permitted. Strong sexual violence is permitted unless it is eroticised or excessively graphic, in which a work will require compulsory cuts where possible.
Restricted 18 Can only be shown at licensed adult cinemas or sold at licensed sex shops. Not to be supplied to anyone below the age of 18, and it is illegal to supply a film with this rating by mail order. Works under this category always contain hard-core pornography, defined as material intended for sexual stimulation and containing clear images of real sexual activity, strong fetish material, explicit animated images, or sight of certain acts such as triple simultaneous penetration and snowballing. There remains a range of material that is often cut from the R18 rating: strong images of injury in BDSM or spanking works, urolagnia, scenes suggesting incest even if staged, references to underage sex or childhood sexual development and aggressive behavior such as hair-pulling or spitting on a performer are not permitted. More cuts are demanded in this category than any other category.[42]
Material that is exempt from classification sometimes uses symbols similar to BBFC certificates, for example an E "certificate". There is no legal obligation, nor a particular scheme, for labelling material that is exempt from classification.[43] On the BBFC's online classification database, material that has been refused a classification uses a red serif R in place of a rating symbol.
Age-verification certificate[edit]
As part of the implementation of the Digital Economy Act 2017, the BBFC and NCC Group are introducing an age-verification certificate (AVC or AV Certificate), a voluntary, non-statutory certificate awarded to Internet age-verification providers who meet standards of privacy and data security. Online age-verification is being introduced to deny those who do not prove they are aged over 18 access to pornographic website content such as that awarded the adult rating certificates 18 and R18.[44]
Attitudes to censorship[edit]
Historically the Board has faced strong criticism for an over-zealous attitude in censoring film. Prior to the liberalising decade of the 1960s, films were routinely and extensively censored as a means of social control. For example, Rebel Without a Cause was cut to reduce the "possibility of teenage rebellion". Ingmar Bergman's Smiles of a Summer Night was cut to remove "overtly sexual or provocative" language.[45]
The BBFC's attitude became more liberal during the 1960s, and it concentrated on censoring films that featured graphic sex and violence. However, some Board decisions caused controversy in the 1970s when it banned a series of films that were released uncut and were popular in other countries (such as The Texas Chain Saw Massacre and Last House on the Left), or released other controversial films, such as Straw Dogs and A Clockwork Orange. However, under recent President Andreas Whittam Smith and current incumbent Sir Quentin Thomas, guidelines have been relaxed again, allowing the release, usually uncut, of these previously banned films on video and in cinemas. Some films from the 1970s remain unreleased,[46] but many of these titles remain banned primarily because their distributors have not chosen to re-submit the films to the BBFC, almost certainly for commercial reasons. If they were, they would be likely to receive a more sympathetic hearing than 30 to 40 years ago. Two notable examples from this period include the 1969 film Love Camp 7, rejected in 2002, and Women in Cellblock 9, released in 1977 and rejected in 2004. Both films contain substantial scenes of sexual violence and have remained completely banned following a re-submission since 2000.
In general, attitudes to what material is suitable for viewing by younger audiences have changed over the years, and this is reflected by the reclassification of older films being re-released on video. For example, a 1913 film given the former A rating could very probably be rated PG today. An extreme example of this is the rating of the horror film Revenge of the Zombies, with a U certificate upon its video release in the late 1990s, whereas, when it was first examined as a film in 1951, it was given one of the first X ratings. The Bela Lugosi horror film Island of Lost Souls was refused a certificate when first submitted in 1932, was granted an X in the 1950s, and a 12 for home video release in 1996 – when submitted for a modern video classification in 2011, it was re-classified as a PG.
The BBFC are also known to cut the words "spaz" and "retard" from U certified films and videos on the grounds of discrimination (though "spaz" is not considered as derogatory in the United States as it is in the United Kingdom: "spaz" in American slang means "someone who overreacts to a minor problem": in British English it is a slang word for spastic (The British Spastics Society changed its name to Scope (charity) because the word was used as a general term of abuse and not in its former sense of someone with particular mental or physical disabilities.) "Retard," however, has been censored on some American TV shows for being derogatory). One example of this was when Marmaduke was passed U after the word "spaz" was removed. The uncut version would have been rated 12. They also award higher ratings to films that contain potentially imitable and dangerous behaviour; this includes all three Jackass films being passed 18, and Fred: The Movie being passed 12. They are also very serious about suicide themes, references, or attempts, and will either cut them or award a higher rating. An example of this was in 2010, when the Board cut the Hindi film Anjaana Anjaani by two minutes and thirty-one seconds to remove references to and sight of someone attempting suicide by asphyxiation so the distributor could get a cinema 12A certificate. In its uncut form the film was released on home video with an 18 certificate. The Hunger Games was assessed before formal classification, with the film's studio wishing to obtain a 12A for financial and marketing reasons. To get this, seven seconds of footage was cut and blood splashes were digitally removed to reduce emphasis on blood and injury, as an alternative to the uncut film being rated 15.
Relaxation[edit]
There has been considerable relaxation since 1999. The relaxation of guidelines has also made hardcore pornography widely available to adult audiences through the R18 rating. Films with this rating are only legally available from licensed sex shops, of which there are about 300 in the UK. They may also be seen in specially licensed cinemas.
There are also examples of films with stronger sexual content, some including real images of sexual intercourse, being approved at '18' level. Recent examples include the passing of Irreversible, 9 Songs, Antichrist, and numerous other films uncut for cinema and video viewing. Despite this trend towards liberalisation, anti-censorship campaigners are still critical of the BBFC. It has attracted criticism from conservative press, in particular the Daily Mail, on the grounds that the release of sexually explicit and violent films was corrupting the nation. The newspaper's most famous clash with the BBFC came in 1997 when the Board released the David Cronenberg film Crash without cuts. The following day (19 March 1997) the Mail led with the banner headline "CENSOR'S YES TO DEPRAVED SEX FILM"[47] Westminster City Council imposed its own ban on the film after the decision, although anyone wanting to watch the film in a cinema only had to walk along to the non-Westminster half of Shaftesbury Avenue, which is in the neighbouring borough of Camden.
Current concerns[edit]
The BBFC's current guidelines identify a number of specific areas considered when awarding certificates or requiring cuts. These are:
Depictions of cruelty and harassment based on race, gender, sexual orientation, or mental or physical disability,
Adult themes and situations that may be considered too distressing for younger or more sensitive viewers,
Offensive language (i.e., profanity and use of racial and ethnic slurs),
Sexual content (including scenes of sexual activity and spoken/visual references to sex),
Gore and injury detail
Sexual violence (rape and forced disrobing especially),
Dangerous actions that can easily be imitated by younger, more naive viewers (certain combat moves [ear-claps, headbutts, and neck-breaking in particular]),
All visual and verbal references to suicide [particularly if it involves hanging oneself or slashing one's wrists],
Detailed criminal acts [such as breaking into a house using a credit card to jimmy the lock or hotwiring a car],
Actions that result in injury or death in real life, but are almost always shown in the media (especially on shows aimed at younger audiences, such as cartoons) with no negative consequences, such as hiding in appliances that can trap and kill small children [i.e., tumble driers and old refrigerators], ingesting or misusing common household chemicals, or creating dangerous devices from common household items [such as a flamethrower from an aerosol can and a cigarette lighter] – fall under this category),
Scenes of horror, threat, and danger and their intensity on audience members, and,
Drug abuse being condoned or glamorised.
The BBFC also continues to demand cuts of any material it believes breaches the provisions of the Obscene Publications Act or any other legislation (most notably the Cinematograph Films (Animals) Act 1937 [which forbids the depiction of animals being abused or in distress] and the Protection of Children Act 1978 [which, as amended, forbids the depiction of minors engaged in sex or in sexually suggestive poses or situations]). In 2009, 2% of cinema films had material cut, and 3.6% of videos. Most cuts actually occur in videos rated for 18 or R18, rather than videos intended for viewing by under-18s. In 2009, 16.8% of 18 videos, and 27.3% of R18 videos, had material cut.[42]
There is no theme or subject matter considered inherently unsuitable for classification at any level, although more controversial topics may drive a movie to be given a more restrictive rating. This is in keeping with current practice in most liberal democracies, but in sharp contrast to the early days of the BBFC in which such adult themes as prostitution, incest, and the relations of capital and labour were unacceptable regardless of the rating.
"'Adult" or "strong" language can earn a film a more restrictive certificate, though BBFC policy states that there are no constraints on language use in films awarded an 18 certificate. It is difficult to compare the BBFC's policies in this area with those in other countries as there are different taboos regarding profanity in other languages and indeed in other English-speaking countries. For example, the use of "strong" language has little effect on a film's classification in France. The BBFC's policy proved particularly controversial in the case of Ken Loach's Sweet Sixteen in 2002, which was passed uncut only at 18 certificate, even though its main characters were teenagers who frequently used profanities that the director argued were typical of the social group his film depicted. The film received similar certificates in Ireland (also an 18 certificate) and the United States. Shane Meadows' film This Is England was also passed uncut only at 18 due to its repeated use of racist terms, and the climatic scene where Combo becomes irate and pummels his friend Milky while insulting him. On the other hand, some films feature strong language but nevertheless do not carry particularly restrictive certificates. The King's Speech was passed for a 12A rating despite its repeated use of the word "fuck" in two scenes, which would normally raise the rating to a 15 certificate; the BBFC justified its decision, saying that the profanity was "in a speech therapy context".
There are minimal restrictions of the depiction of non-sexual nudity, which is allowed in even U and PG certificate films (for example, The Simpsons Movie—which was given a PG-13 rating in the US – was given a PG certificate in the UK, leaving the sequence where Bart skateboards naked through town and his genitals are shown through an open space in a hedge unedited), but scenes of (simulated) sexual activity are limited to more restricted certificates. With regard to material that is intended primarily as pornographic the Board's policy, as stated on its website is "Material which appears to be simulated is generally passed '18', while images of real sex are confined to the 'R18' category." However, for some years depictions of real sex have been allowed in 18 certificate videos intended as educational, and in recent years a number of works such as Patrice Chéreau's Intimacy and Michael Winterbottom's 9 Songs, which feature apparently unsimulated sex have been passed uncut for theatrical release.
Violence remains one of the most problematic areas for censorship in the UK, especially when it's in conjunction with sex or likely to sway more impressionable viewers into thinking the violence depicted is "glamorous" or "fun" and "risk-free." However, the Board takes into account issues of context and whether it considers scenes of sexual violence to "eroticise" or "endorse" sexual assault. In 2002, the board passed Gaspar Noé's Irréversible uncut, but less than a month later cut Takashi Miike's Ichi the Killer by three and a quarter minutes to remove scenes of sexual violence. A Serbian Film suffered from forty-nine individual cuts by the BBFC, which totalled to four minutes and eleven seconds of cuts. The cuts were made to remove "portrayals of children in a sexualised or abusive context and images of sexual and sexualised violence which have a tendency to eroticise or endorse the behaviour" as the Board's website states.
Criminal and dangerous acts that can be easily imitated, as well as scenes condoning, glamorising, or showing clear instruction of how to abuse drugs have also been the subject of UK editing. The issue of depicting dangerous acts that can easily be imitated in real life is one that does not seem to figure especially highly in the censorship systems of most other countries (though the US has done this on occasion, often as the result of public backlash, as seen on the MTV shows Beavis and Butt-head and Jackass). In the UK, numerous minor cuts have been made, primarily to films whose distributors want a PG or 12A certificate, to scenes of characters performing acts that would be considered dangerous, criminal, or harmful if done in real life. For example, in 2006, issues involving suicide by hanging became problematic; The Ren & Stimpy Show Series 1 DVD set (classified PG) was edited to remove the song "The Lord Loves a Hangin'" because the song implied that hanging is "comedic, fun, and risk-free".[48] Paranoia Agent Volume 3 DVD set (classified 18) was also cut to remove the depiction of a child nearly hanging herself for the same reason.[49]
The requirement to have films classified and censored can cost film producers up to thousands of pounds. The North West New Wave, a blanket term recently used by both film makers and local press to describe independent filmmakers in the Northwest of England, is currently campaigning for the introduction of a Voluntary 'Unrated 18' Certificate in the UK.[50]
On 6 June 2011, the BBFC refused a classification for the horror film The Human Centipede II. The previous film in the series was passed uncut at 18, but due to a shift in context and focus, the BBFC judged that the sequel could fall foul of the Obscene Publications Act.[51] The film was eventually passed 18 after cuts were made.[52]
Leadership[edit]
Presidents of the BBFC[edit]
George A. Redford (1 January 1913 – 12 November 1916)
T.P. O'Connor (11 December 1916 – 18 November 1929)
Edward Shortt (21 November 1929 – 10 November 1935)
William Tyrrell, 1st Baron Tyrrell (25 November 1935 – 22 March 1948)
Sir Sidney Harris (31 March 1948 – June 1960)
Herbert Morrison, Baron Morrison of Lambeth (June 1960 – 6 March 1965)
William Ormsby-Gore, 5th Baron Harlech (21 July 1965 – 26 January 1985) (Died in Office)
George Lascelles, 7th Earl of Harewood (June 1985 – 18 December 1997)
Andreas Whittam Smith (18 December 1997 – 1 August 2002)
Sir Quentin Thomas (1 August 2002 – 17 October 2012)
Patrick Swaffer (17 October 2012 – present)[53]
Directors of the BBFC[edit]
During James Ferman's time, the title of the chief executive officer at the BBFC changed from "Secretary of the Board" to the current "Director". With David Austin's appointment in 2016 however, this title reverted to CEO.[54] At the same time, the title card displaying a film's certificate, which opens all theatrically screened films in the United Kingdom, stopped carrying the chief executive's signature. The President's signature is now used instead.
Joseph Brooke Wilkinson (1 January 1913 – 15 July 1948) (died in office)
A.T.L. Watkins (26 July 1948 – 23 January 1957)
John Nicholls (23 January 1957 – 30 April 1958)
John Trevelyan (22 May 1958 – 1 July 1971)
Stephen Murphy (1 July 1971 – 18 June 1975)
James Ferman (18 June 1975 – 10 January 1999)
Robin Duval (11 January 1999 – 19 September 2004)
David Cooke (20 September 2004 – 10 March 2016)[55][56]
David Austin OBE (10 March 2016 – present) [54]
18 (British Board of Film Classification)
Censorship in the United Kingdom
History of British film certificates
Irish Film Classification Office – the equivalent to the BBFC in the Republic of Ireland
List of films banned in the United Kingdom
Motion picture content rating system
Obscene Publications Act
Film censorship in the United Kingdom
R18 (British Board of Film Classification)
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Hunnings, Neville March, Film Censors and the Law, London, Allen & Unwin (1967).
Lamberti, Edward, ed. Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age. London: British Film Institute/Palgrave Macmillan, 2012.
Mathews, Tom Dewe, Censored, London, Chatto & Windus (1994).
Richards, Jeffrey, 'The British Board of Film Censors and Content Control in the 1930s', Historical Journal of Film, Radio and Television, vol. 1, no. 2 (1981), pp. 95–116 & vol. 2, no. 1 (1982), pp. 39–48.
Robertson, James C., 'British Film Censorship Goes to War', Historical Journal of Film, Radio and Television, vol. 2, no. 1 (1982), pp. 49–64.
Robertson, James C., The British Board of Film Censors: Film Censorship in Britain, 1896–1950, London, Croom Helm (1985).
Robertson, James C., The Hidden Cinema: British Film Censorship in Action, 1913–72, London, Routledge (1993).
Wood, Leslie (1947). The Miracle of the Movies. London: Burke Publishing Co.
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Related to British Board of Film Classification
The Video Recordings Act 1984 is an Act of the Parliament of the United Kingdom that was passed in 1984. It states that commercial video recordings offered for sale or for hire within the UK must carry a classification that has been agreed upon by an authority designated by the Home Office. The British Board of Film Classification, which had been instrumental in the certification of motion pictures since 1912, was designated as the classifying authority in 1985. Works are classified by the BBFC under an age-rated system ; it is an offence under the Act to supply video works to individuals who are under the age of the classification designated. Works that are refused classification cannot, under the Act, be legally sold or supplied to anyone of any age unless it is educational, or to do with a sport, religion or music and does not depict violence, sex or incite a criminal offence. The BBFC may also require cuts to be made, either to receive a certain age rating, or to be allowed a classification at all.
Romance (1999 film)
Romance is a 1999 French art house film written and directed by Catherine Breillat. It stars Caroline Ducey, Rocco Siffredi, Sagamore Stévenin and François Berléand. The film features explicit copulation scenes, especially one showing Caroline Ducey's coitus with Rocco Siffredi. Romance is one of several arthouse films featuring explicit, unsimulated sex, such as The Brown Bunny (2003), 9 Songs (2004), All About Anna (2005), and Shortbus (2006).
Baise-moi
Baise-moi is a 2000 French crime thriller film with elements of a rape and revenge film written and directed by Virginie Despentes and Coralie Trinh Thi and starring Karen Lancaume and Raffaëla Anderson. It is based on the novel by Despentes, first published in 1993. The film received intense media coverage because of its graphic mix of violence and explicit sex scenes. Consequently, it is sometimes considered an example of the "New French Extremity."
R18 is a film or video classification given by the British Board of Film Classification (BBFC). It is intended to provide a classification for works that are within British obscenity laws, but exceed what the BBFC considers acceptable for its 18 certificate. In practice, this means hardcore pornography.
In the Realm of the Senses is a 1976 French-Japanese art film written and directed by Nagisa Oshima. It is a fictionalised and sexually explicit treatment of an incident from 1930s Japan, that of Sada Abe. It generated great controversy during its release; while intended for mainstream wide release, it contains scenes of unsimulated sexual activity between the actors.
The 18 certificate is issued by the British Board of Film Classification (BBFC), to state that in its opinion, a film, video recording, or game should not be seen at home or elsewhere, watched in a cinema or purchased by a person under 18 years old.
Irish Film Classification Office
The Irish Film Classification Office (IFCO) is the organisation responsible for films, television programmes, and some video game classification and censorship within Ireland. Where restrictions are placed by the IFCO, they are legally binding.
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Nick Palumbo
Nick Palumbo is an American film director, writer and producer.
The Australian Classification Board is an Australian Government statutory body responsible for the classification and censorship of films, video games and publications for exhibition, sale or hire in Australia. The ACB was established in 1970 and was once part of the Office of Film and Literature Classification (OFLC), which was dissolved in 2006. The Department of Communications and the Arts now provides administrative support to the ACB and decisions made by the ACB may be reviewed by the Australian Classification Review Board. The ACB now operates under the Commonwealth Classification Act 1995,


text:
https://apnews.com/article/virus-outbreak-oregon-restaurants-91249b089e7f1a5ec90754c6fb2052cc
Kate Brown
WA State Wire
ID State Wire
Oregon officials announce new COVID-19 restrictions
By SARA CLINENovember 6, 2020 GMT
SALEM, Ore. (AP) — Following a record-breaking day of COVID-19 cases in Oregon, officials on Friday announced new restrictions that will be implemented in at least five of the state's counties as part of a two-week pause on social activities.
The updated safety measures, which begin Nov. 11, include halting visitations to long-term care facilities, reducing the capacity of indoor dining at restaurants to 50 people, encouraging all business to mandate work from home and urging Oregonians not to gather with people who do not live in their household, but if they do to limit it to six people.
"Let me be clear, we cannot allow this disease to continue to spread so rapidly in our communities. Lives are at stake," Gov. Kate Brown said.
Currently, statewide safety measures in Oregon include banning indoor get-togethers of more than 10 people, the closure of restaurants and bars by 10 p.m., a capacity limit for restaurants and gyms set at 100 people inside and mask requirements for people five years or older in indoor public spaces, universities, office spaces and outdoor areas where physical distancing can not be maintained.
Under the updated measures, indoor dining at restaurants along with other indoor activity facilities such as gyms, fitness organizations, bowling alleys, ice rinks, indoor sports, pools and museums will all be reduced to a 50 person capacity.
Get-togethers with people should also be limited to six people, the health authority said. If people have multiple get-togethers, which is discouraged, it should be the same social circle of six people.
These pause measures will be in effect through Nov. 25, for Malheur, Marion, Multnomah, Jackson and Umatilla counties.
The mayor of Portland, which is located in Multnomah County, applauded the governor for implementing the two-week restrictions.
"The best defense we have is prevention. We must all do our part to stop the spread of the virus from person to person. We all want to spend more time with friends and family, especially as the holiday season approaches," said Ted Wheeler. "To ensure we're able to gather with friends sooner rather than later, we all need to heed the Governor's direction to minimize our indoor gatherings and limit our social interactions over the next few weeks. This is the right step.
Five additional counties––Washington, Baker, Union, Clackamas and Linn––are close to the COVID-19 thresholds that would necessitate adding them to the two week pause. The Oregon Health Authority will determine Monday if any of these counties will be added.
The threshold for counties being added to the two-week pause is counties with a case rate above 200 cases per 100,000 people over a two-week period, or more than 60 cases over a two-week period for counties with less than 30,000 people.
"This two week pause is really a wakeup call for everyone I think, to show them just how serious the situation is right now," Charles Boyle, a spokesperson for the governor's office, said. "This is the step before we need consider additional closures."
Brown said if the COVID-19 situation does not improve in Oregon then "additional closures may be imminent" in two weeks.
The Oregon Health Authority reported 805 new confirmed COVID-19 cases Thursday, breaking the state's previous daily record of 600. In addition, the most recent percentage of positive COVID-19 tests in the state was 8.4%.
"It is alarming that recent high case rates are not linked to any specific outbreaks, but rather reflective of sporadic community spread," Brown said. "We are seeing in real time how this virus can quickly snowball out of control.
On Friday the health authority reported 769 new cases, increasing the number of cases in the state since the start of the pandemic to 48,608. The death toll is 716.
Officials say that the "unprecedented" numbers suggest that Oregonians are circulating more in their communities, letting their guard down and attending more indoor social gatherings.
Rachel Banks, the health authority's new public health director, cited recent incidents of transmission. A Halloween party that led to 14 infections and then a workplace outbreak. A family gathering where nine people became infected and then the disease spread into two long-term care facilities, impacting 24 people and killing one.
In addition health experts have expressed concerns about hospitals nearing capacity.
Currently there are 217 COVID-19 patients hospitalized in Oregon, a record number according to the Oregon Health Authority's dashboard. The previous record, outside the month of November, was 168 patients in July.
"I do not want to take further actions to stop the spread of COVID-19 because I know it will have a devastating impact on our businesses," Brown said. "But, I absolutely will, if necessary, to protect the health and safety of Oregonians."
Cline is a corps member for The Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places journalists in local newsrooms to report on undercovered issues.


text:
March 18, 2017 10:39 AM ‐ Television
Complete List Of Appearances Of The Borg In Star Trek
The Borg are Star Trek's most feared and most loved adversaries they appear in a total twenty-one episodes in the Star Trek franchise in 'Enterprise,' 'The Next Generation' and 'Voyager,' every television incarnation other than the original series and 'Deep Space Nine.' They also appeared in the Star Trek movie 'First Contact.' Below is a complete list of the Borg's appearances in chronological order.
1. Enterprise - 'Regeneration' [S02E23]
A team of researchers in Earth's Arctic Circle come across the remains of a crashed spacecraft, they find its passengers, humanoids with cybernetic implants frozen in the wreckage. After discovering that the bodies are being regenerated by nanoprobes, one suddenly moves and assimilates the researcher. They steal a transport ship to escape, Captain Jonathan Archer and the crew of the Enterprise NX-01 are ordered to pursue and rescue the researchers.
2. The Next Generation - 'Q Who' [S02E16]
Q shows up on board the Enterprise D and asks Captain Jean-Luc Picard to join the crew, to prove he can help them explore he throws the Enterprise into an unexplored region of the galaxy where they encounter a large cube-shaped spacecraft belonging to the Borg.
Stardate: 42761.3
IMDb Rating: 9/10
3. The Next Generation - 'The Best of Both Worlds' [S03E26 - S04E01]
A two part story which was the last in season three and concluded as the first episode of season four. The episode is the highest rated episode of The Next Generation on IMDb.
After responding to distress call, the Enterprise assisted by Lt. Commander Shelby deduce that a colony was attacked and destroyed by the Borg. It doesn't take long for the Enterprise to encounter a Borg cube and Captain Picard is abducted and assimilated. Now calling himself "Locutus of Borg," he is used as a mouth-piece for the Borg to negotiate the assimilation of human race.
4. The Next Generation - 'I, Borg' [S05E23]
The Enterprise discovers the wreckage of a Borg ship with a single surviving drone. Dr. Beverly Crusher brings the surviver onboard the Enterprise to treat his injuries. Geordi La Forge and Data assist Dr. Crusher in bringing the Borg back to health and eventually free him from the hive mind of the collective and even giving him a name, Hugh.
5. The Next Generation - 'Descent' [S06E26 - S07E01]
The Enterprise responds to a distress call from a Starfleet outpost but on arrival find the crew are dead, moments later they are attacked by a group of Borg. During a fire fight with the Borg, the usually emotionless android, Lt. Commander Data feels an emotion, anger.
The Enterprise is later boarded by Borg and one is captured, Data is sent to speak to them but the Borg is able to manipulate him into releasing him, he escapes in a shuttlecraft taking Data with him.
The Enterprise track the shuttle to a planet where they find out that Data's brother, Lore is behind Data's sudden burst of emotion and has formed an alliance with the Borg with Data as his right-hand man.
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6. Voyager - 'Unity' [S03E17]
Commander Chakotay and Ensign Kaplan of the USS Voyager pick up a distress call while away from Voyager in a shuttlecraft, they land but are attacked by hostile aliens, killing Kaplan. Chakotay awakes in a room with a woman called Riley, who is part of a group of survivors on the planet from a variety of races.
Chakotay eventually discovers that Riley and the other survivors all have Borg implants in their bodies. Riley admits that they were Borg and that an electrokinetic storm broke their link with the hive mind.
7. Star Trek: First Contact
The eighth feature film in the Star Trek film franchise and the second to feature the cast of the The Next Generation.
A Borg sphere travels back in time dragging the Enterprise E along with it. The Borg attempt to change the history of the Federation by preventing mankind from taking their first warp flight which will in turn mean Earth is ignored by a passing Vulcan ship and humans will miss their opportunity to make first contact with an alien race.
8. Voyager - 'Scorpion' [S03E26 - S04E01]
'Scorpion' is a two-part episode which spans seasons three and four of Star Trek Voyager.
Voyager enters a sector of space occupied by the Borg but are able to find a narrow path through the sector that is free of the Borg.
Before Voyager can safely make it in to the passageway they encounter15 Borg cubes, but moments after they show up on the scanner they are destroyed by a "bioship" piloted by Species 8472.
Eventually Voyager reaches the safe passage, only to find a fleet of bioships waiting for them and Captain Janeway suggests an alliance with the Borg in order to continue their journey safely.
9. Voyager - 'The Raven' [S04E06]
Having recently liberated Seven of Nine from the Borg collective, she begins having hallucinations involving Borg and a large black bird. Without warning one of her Borg implants burst through her skin and she threatens to assimilate Neelix. The Doctor figures out that Seven's Borg nanoprobes have reactivated and are taking over her body again.
10. Voyager - 'Drone' [S05E02]
Seven of Nine and Voyager's holographic Doctor are onboard a shuttlecraft but suddenly need to be transported back to the ship in an emergency. During transport a malfunction occurs which briefly merges their patterns together, the error is corrected and everything seems normal but the crew is unaware that the Doctor's holographic emitter has been infected by Seven's Borg nanoprobes and it begins assimilating the equipment in the science lab.
11. Voyager - 'Dark Frontier' [S05E15 - S05E16]
A two-part episode in which Voyager destroys a Borg probe and recover tactical information from the debris. They uses this data to locate a heavily damaged Borg sphere nearby and Captain Janeway formulates a plan to invade the Borg craft and steal its transwarp coil, a device which could shave about 20 years off Voyager's journey home.
12. Voyager - 'Survival Instinct' [S06E02]
Seven of Nine starts having flashback from her past as a Borg. Seven meets three men at the Markonian Outpost Space Station who eventually reveal themselves as former Borg and part of her unimatrix.
The strangers want to connect with Seven to establish what happened some years ago when a Borg scout ship they were on together crashed on an uninhabited planet.
13. Voyager - 'Collective' [S06E16]
Chakotay, Paris, Neelix and Kim find themselves on a Borg cube after a shuttlecraft accident. Meanwhile, Voyager encounters a Borg cube and Seven discovers that it is crewed by just five drones instead of thousands.
Seven boards the vessel and finds that it is being manned by children who have not matured long enough to be fully functioning drones.
Voyager's Doctor removes the children's implants and information in the cube's database includes the children's original assimilation profiles including their names, Icheb, Mezoti, Azan, and Rebi.
14. Voyager - 'Child's Play' [S06E19]
The parents of Icheb, one of the children rescued from a Borg cube, have been found and want him to return home. When Voyager returns Icheb to his home planet, they discover it has been attacked by the Borg several times.
Shortly after his return home, Icheb's parents inject him with a medical device and put him on a shuttle heading for the Borg transwarp conduit.
15. Voyager - 'Unimatrix Zero' [S06E26 - S07E01]
Another two-part Borg episode which closes season six of Voyager and is concluded as the first episode of season seven.
Seven of Nine dreams of a forest but soon learns that the forest is a real subconscious realm inhabited by the minds of certain Borg drones during their regeneration periods. Few drones possess the recessive gene required to experience the realm called "Unimatrix Zero."
16. Voyager - 'Imperfection' [S07E02]
After feeling weak, Seven of Nine attempts to regenerate but is unable to as her cortical node is malfunctioning. She is taken to the sick bay where the Doctor finds he can't repair the node which will likely result in Seven's death.
Captain Janeway hunts down a nearby Borg debris field to find a replacement node.
17. Voyager - 'Endgame' [S07E25]
Episodes 25 and 26, the finale of the last season of Voyager in which the crew of the USS Voyager return to Earth.
Now an admiral, Janeway travels back in time to the the Delta Quadrant where she tries to convince her younger self to enter a transwarp corridor which will result in Voyager returning to Earth sixteen years earlier than it did in her timeline.
There's More To Come...
This is not the last we've heard of the Borg. It was confirmed at the 2019 San Diego Comic Con that Seven of Nine and Hugh will appear 'Star Trek: Picard'. The new series is expected to premiere in early 2020 and will run for 10 episodes.
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