The content of a text does not always distinguish its suitable age certificate given by the BBFC. The content’s presentation, meaning and contextual relevance had to be considered. The Bunny Game (Adam Rehmeier, 2012) is a US film about a prostitute being kidnapped, raped and violently assaulted by a trucker. The BBFC rejected the film and it is yet to receive a certificate. The violence towards the female protagonist is relentless in the piece. The BBFC’s Guidelines clearly set out the BBFC’s serious concerns about the portrayal of violence, especially when the violence is sexual or sexualised, but also when depictions “portray or encourage callousness towards victims, aggressive attitudes, or taking pleasure in the pain or humiliation of others.” The Bunny Game was seen to eroticise or endorse sexual assult through the emphasis on the woman’s nudity. The “lack of explanation of the events depicted, and the stylistic treatment,” may encourage some viewers to enjoy and share the man’s callousness and the pleasure he takes in the woman’s pain. The content may be titillating. In these ways, the film would be inconsistent to the Guidelines and would also risk potential harm within the terms of the Video Recordings Act, and would accordingly be unacceptable to the public. Next up is Lars Von Trier’s Antichrist (2009) which received an 18 certificate despite its horrific content. So what’s the difference between the content in this piece and The Bunny Game? Well the BBFC saw the violence in Von Trier’s film as “turn off” material, unlike Rehmeier’s. The “adult theme” of the movie helped contextualise the violence and its tone proved the violence not to be simulative. On the other hand, Tom Six’s notorious sequel The Human Centipede 2 was rejected for the villain’s visual enjoyment of violence. Although audiences may be repulsed, the film focuses on his pleasure and shows how a horror film can inspire and encourage terrible and violent acts. Similarly, in The Killer Inside Me (Michael Winterbottom, 2010) viewers see sexual violence that becomes pleasurable to the characters involved. The “spanking” scene, for example, shows the characters’ enjoyment of the violent acts shown which the BBFC does not consider suitable. Despite this, it’s interesting to note that a film as horrific as Srdjan Spasojevic’s A Serbian Film is released. The child molestation involved in the piece and the sexual violence has lead to the film to be banned in large areas of the world. For example, it is banned in Norway on account of sexual representation of children and extreme violence in a fictional medium. One of the few modern-day movies to be banned in the country since Ichi The Killer (2001) and Grotesque (2009).The film was banned in Brazil but was supposed to be legally screened for the first time in the city of Maceió, Alagoas on a special Cine Sesi dawn screening in October 1, 2011; however, the company was forbidden to exhibit it by a legal action only a day before the screening. The film holds a record of 19 minutes of cuts in the United States in order to achieve an NC-17 rating. However, the film remains avaible on DVD as an 18 in the UK due to it being considered as “serious work” which is not intended to arouse. Behind the Candelabra (2013) starring Matt Damon and Michael Douglas was on the borderline of 15 and 18. The film’s focus on grooming gave the piece its edge, especially since it was based on historical record. The piece by Steven Soderberg, was given a 15 rating. Drug use in films is a big concern for the BBFC however, films such as Pulp Fiction, Trainspotting and Scarface have somewhat of a big focus on drugs but still remain available uncut. 2008 saw the release of David Gordon Green’s Pineapple Express and the representation of drugs meant the film’s theatrical edit had to be cut. The film showed young people enjoying smoking marijuana and this positive representation is highly frowned upon. We often see a negative portrayal of drugs and see their tragic effects however, here the BBFC criticised the piece. With the scene cut, the film appeared in cinemas as a 15 but the scene was restored in the DVD as an 18. 2009’s The Woman in Black by James Watkins starred Harry Potter star, Daniel Radcliffe. Due to this actor that heavily attracted young audience members, filmmakers were keen to get a 12A rating despite the frightening content. The film would appear as a 15 uncut however, 6 seconds being taken out as well as a remix of the soundtrack (quite rare) lead the BBFC to release the film at the age restriction which the filmmakers hoped for. The Women in Black and Darren Aronofsky’s Black Swan sparked up a controversy of complaints due to their age rating. While the rating, the main female actresses (Natalie Portman and Mila Kunis) and the high-achieving ballet school appealed to teenage girls, the sexual content was arguably unsuitable for that particular audience. Nevertheless, the film was released in cinemas and on DVD as a 15.
Editing was a process Jannath and I collaborated on. Above you’ll see the finished edit consisting of a number of video files cut together, audio files and text.
In order to get a further understanding of the editing process, I read Walter Murch’s “In The Blink Of An Eye” which is truly a goldmine for editors. It explains the reasoning behind every cut which you should consider and offers a in-depth analysis of the editing process.
Below is the basic composition of what my timeline appeared like throughout post-production. The blue file is my footage; the visual file recorded by my Canon 600D which I’ve imported. Below that you’ll find a piece of media that is green. This is audio, and in this case, this is audio that was recorded externally using a RODE microphone and a Zoom H1 digital recorder. What’s left is the other audio that plays over the entire first scene; The Night of the Living Dead soundtrack. This is present in the timeline in order to tell the audience a movie is being played and adds digetic sounds into the scene.
Due to the hand-held look I was going for in this moment of despair for Peter, I managed to feature one of our film-making lights into the frame which completely ruins the magic of the piece by revealing this equipment. Someone might assume this footage is unusable but that someone would be wrong! By keyframing the video files movement in relation to canvas we have to work with in Final Cut Pro, I could successfully zoomed in the footage and move it up over time which carefully and successfully hid the light. With the help of the letterboxing this was also accomplished.
Making cuts is easy with Final Cut Pro. One can either change from the arrow manually to the Blade tool or simply press “B” to begin cutting. All that needs to be done once this tool is selected is to find the right point and click!
In order to make audio appear smoothly and naturally, often I used a fade for my audio files so either the sound begins silent and becomes louder, or it is loud and gradually becomes silent. You can see my using it below.