British Board of Film Classification

19/03/2016 15:23 Annual ReportAnnual and 2015 Accounts British Board of British Board Film Classification

BRITISH BOARD OF FILM CLASSIFICATION ANNUAL REPORT AND ACCOUNTS 2015 www.bbfc.co.uk doublespread.indd 1 British Board of Film Classification Annual Report and Accounts

1 January 2015 – 31 December 2015

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British Board of Film Classification, 3 Soho Square, London, W1D 3HD www.bbfc.co.uk Contents

President’s introduction 4 Director’s report 6 Accountability 8 BBFCinsight and resources 9 Letters from the public 10 Media education 12 Research 13 BBFC digital services 14 Mobile content 15 Music videos 16 Enforcement 16 U Universal 17 PG Parental Guidance 21 12A Cinema 12 Home Ent 25 15 31 18 37 R18 41 Video games and associated media 42 Unclassified works 42 Legal issues 43 Statistics 44 Video Appeals Committee 46 Consultative Council 46 Advisory Panel on Children’s Viewing 48 Business review 49 Report of the Directors 50 Accounts 52 Photographic credits 68 President’s introduction

Patrick Swaffer – President

Evolution of new online services classified. The majority of younger with individual cases of purported for the public children also want classifications with over- and under-blocking. 2015 saw the continued evolution in which they are familiar. However, the how the public accesses and views public also told us that more needs to In parallel, the BBFC’s Watch & Rate audio visual content. The BBFC be done. Three quarters of parents voluntary service which can be used responded to these changes, would like the ability to link parental for works exclusive to digital including continuing public concerns controls to BBFC classifications and platforms or for online distribution about the need to protect children for more platforms to carry age prior to a DVD/Blu-ray release grew online, by setting up new voluntary ratings and trusted BBFC content once again in 2015. There was an regulatory partnerships with industry, advice. Consumers are also annual increase over 2014 of 41.2% the better to protect children and concerned about unrated videos of to 1,143 viewed hours and we also empower consumers. artists from the United States and welcomed three new members to the elsewhere overseas and would like service: Amazon, DisneyLife and We In August, the Government the BBFC to classify these as well. Are Colony. This continued growth announced that following a We therefore look forward to working represents both the home successful pilot for the age rating of with Government, record labels and entertainment industry’s desire to online music videos, the UK’s three platforms during 2016 and beyond to help consumers make informed major record labels, along with Vevo make improvements to the services viewing decisions and, as we see and YouTube, had agreed that BBFC we provide the public in this area. below, the public’s desire for a age ratings on music videos made by trusted guide to online content. artists on those labels would continue Another key improvement towards permanently. In addition, protecting younger children online During the summer, following Government declared that the UK’s was the appointment of the BBFC, by research we commissioned in 2011, independent labels would take part EE, in March 2015 as the voluntary we once again asked the public – in a pilot project with the BBFC for regulator of EE’s ‘Strict’ setting. both adults and children – whether the age rating of videos produced by Under this new service, the BBFC they found it helpful to have BBFC their artists. determines what website content, classification for film and video accessed via EE’s mobile network, is content released online. We In parallel, the BBFC commissioned suitable for younger children, based published the research findings in independent research into the on the BBFC’s PG standard. Using September. 85% of parents said that public’s attitude towards online music the ‘Strict’ setting, parents are able to it was important to have consistent videos. There was strong support for restrict their children’s viewing to classifications both online and offline. voluntary regulation. 78% of parents safe and appropriate content, This was almost identical to the 2011 value and want music videos that are suitable for under 12s. The BBFC figure of 84%. Again, consumers unsuitable for younger children to be also provides a free service to deal were clear that some platforms

4 President’s introduction needed to improve how they display Hails and farewells BBFC age ratings and content advice I should like to thank Laurie Hall of and we will be encouraging our the Video Standards Council, Pete partner platforms to do this during Johnson, former Chief Executive of 2016. The Authority for Television On Demand, Detective Superintendent Meanwhile, our classic statutory David Gray of the Metropolitan Police classification services remained in and Councillor Tommy Williams of high demand. We classified 983 Renfrewshire Council who stepped films for theatrical distribution, a rise down from the Consultative Council of 2.7% over 2014, reflecting a in 2015. I am grateful to them for their thriving sector, with alternative constructive and positive content taking its place alongside contributions to the work of the more traditional releases. DVD and Council. Alison Hastings – Vice President Blu-ray classification under the Video Recordings Act were down 5.6% over I should also like to welcome to the 2014, at 8,362 hours. Nevertheless, Consultative Council Detective this figure still represents a healthy Superintendent Wendy Morgan of the market for packaged media. Metropolitan Police, Melissa Dring, Director of Policy of the Trading Improving the classification Standards Institute, Councillor service to industry Manjinder Shergill of East We are engaged in a continuous Dunbartonshire Council and Ian Rice dialogue with the film, video, mobile of the Video Standards Council. and music industries to reduce the regulatory burden on them and Finally, I should like to thank David improve the service we provide. Cooke for his indefatigable work 2015 was no different. since 2004 that has made the BBFC the envy of other film and video We introduced digital delivery for classification bodies around the cinema content, mirroring the world. Not just in terms of providing Gerard Lemos – Vice President service we created for the video families with a trusted guide to the industry the previous year. As a suitability of content for them, but result, by the end of 2015 it was also through developing partnerships cheaper, faster and more secure for with industry that have made it film customers to submit content to significantly easier for content to be the BBFC for classification. released to market in a safe way, both in the statutory and non-statutory We also improved our Extranet space. offering in response to customer feedback. Following consultations David has been a pleasure to work with customers, we will make further with during my time as BBFC improvements to the Extranet in President and I wish him all the best 2016, in particular to its look and feel, in the future. its ease of use and functionality. Patrick Swaffer, 2016 New steps to protect children online One area where there is general agreement that steps need to be taken to protect children is in relation to online pornography. In 2015, the Government declared its intention to bring forward a consultation on how better to protect children from accessing pornography online. I look forward to the BBFC working with Government, industry, fellow regulators and child protection groups, to contribute our expertise in this area.

5 Director’s report

This is my final report as BBFC Director. After twelve years leading this organisation, I step down in March 2016.

For this Annual Report I will therefore depart from my usual practice and look back at what the BBFC has achieved over those twelve years.

Serving the public The most crucial factor in explaining the strong levels of public trust in the BBFC is that we consult the public regularly on the standards we apply.

During my tenure as Director, I have overseen three major public consultations, involving over 30,000 people, including teenagers, into our standards. In each consultation, we asked the public what they considered acceptable at the different age ratings across the full range of classification issues, including sex, violence, horror, discrimination and drug and alcohol misuse. And we applied what they told us when developing each new iteration of our Classification Guidelines. David Cooke – In addition, I oversaw more targeted Director public opinion research into issues as diverse as online glamour content, to feedback. I firmly believe that no In terms of reliable classification racist language and behaviour, music media regulator in the world listens decisions, on average over 90% of videos, and sexual and sadistic to consumers and provides them with the public agreed with some of the violence. In each case, the public the level of information that the BBFC most controversial BBFC film told us where we should draw the does now. classification decisions in our most line between our age categories in recent consultation in 2013. This respect of this content, and in the Working with our industry constitutes an enviable approval case of sexual violence, when we partners rating and means that industry has should not classify content at all. Serving the public is our most the reliability and certainty it needs important function. However, I have when marketing and releasing film As well as standard setting, I wanted been acutely conscious that we also and video content. to find out what sort of information need to provide the film and video the public – particularly parents – industries with a classification In terms of speed, by the end of found most useful when seeking to 2015, the average time it took us to service that they can trust and that make fully informed decisions about classify a video work was six days, offers strong value for money. The what they and their families view. As three times lower than in 2004 when I BBFC must help film and video a result of what parents told us, I became Director. Film classification created BBFCinsight. This rich distributors get content to market in turnaround times are even faster, and content information explains, in a the most straightforward way we offer a same-day classification handful of easy-to-digest bullets, the possible. service for very urgent works. The key classification issues that led to an fastest time we have so far achieved individual film being awarded a Over the past few years, the film and was a few minutes to classify an particular classification, as well as video industries have told me above online music video. highlighting other issues that parents all else that they need three things. have told us they would find useful First, classification decisions on In terms of cost, my tenure has seen when making viewing decisions. which they can rely. Second, a significant real terms fall in the fees classifications delivered at high we charge for classification. Between The insight service, which is speed. Third, classifications 2007 and 2014, the cost of available both on our website and delivered at low cost. I believe that classification fell by 22% in real our free app, has evolved in response we have achieved all three. terms. From 2015 we have agreed

6 Director’s report with industry a fee increase formula supported this voluntary scheme and that is 1% below inflation, the Government announced in guaranteeing that the regulatory August that the initial pilot with the burden will continue to decline in UK’s major record labels would real terms going forward. It is now become permanent. faster and cheaper than ever to submit content through the BBFC and There is still some way to go to get it to market. improve online child protection still further in 2016 and beyond. At the Technology has changed how we time of writing we are seeking to all view content bring US record labels into the The third major challenge I have voluntary music video classification faced as BBFC Director is the speed service. And parents have asked that of changes in technology. As a platforms such as Vevo and YouTube country, we are now watching more link parental controls to age ratings. content than ever in more ways than ever before. Not just at the cinema or In addition, in February 2016, the on DVD but online on mobile ‘phones Government launched a consultation and tablets, for example. into protecting children from online pornography through age Our statutory remit does not extend verification mechanisms. My online. So, in order to protect successor will be working with children and empower consumers, Government, industry fellow we have developed a suite of best- regulators and child protection practice, voluntary regulatory groups to bring the BBFC’s expertise services in partnership with industry. in this area to bear. Our experience, I should like to mention three of them particularly with the Mobile Network here. Operators and through our present legal regulation of pornography, In 2011, we began to classify content enables us to contribute significantly for online distribution only. We have to this important work. licensed platforms such as iTunes, Netflix and Amazon to carry our Stepping down trusted age ratings. A number of As I retire after twelve marvellous online platforms link parental controls years at the BBFC, I should like to pay to those ratings. We work with tribute to all my colleagues, many of platforms to ensure they are whom have worked tirelessly to providing accurate classification make all the changes I describe information to parents in the most above possible. I should like to thank user-friendly way. my fellow members of the Board of Classification and the Council of In 2013, we became the regulator, Management for their support and again on a voluntary basis, of website advice. I should like to thank the content delivered via the mobile members of the Consultative Council networks of EE, O2, Three and and Advisory Panel on Children’s Vodafone. In this way, when filters are Viewing for their invaluable counsel turned on, content from hundreds of and expertise, which have benefitted millions of websites from around the the BBFC tremendously over the past world are filtered, for UK mobile decade and more. users, according to standards set by the BBFC, with those standards Finally, I should like to wish my derived from the public themselves. successor, David Austin, all the best Because filters are imperfect, we as he takes over the Chief Executive provide a free appeals service to role. I have worked with David for a website owners and the public to number of years and am confident he deal with cases of over- and under- will continue improving what we do blocking. for parents and children, reducing the regulatory burden on industry In 2015, working with the UK’s record and developing new online labels, we began classifying music partnerships, the better to protect videos by artists signed to UK labels. children and empower consumers. YouTube and Vevo display those ratings. Public opinion research we David Cooke, 2016 carried out in 2015 strongly

7 Accountability

The BBFC is accountable to both the public and Parliament. It takes this accountability seriously. This Annual Report is a key part of its fulfilment of this requirement. The Report provides a review of the activities and classification decisions of the BBFC during 2015 as well as information about our financial position as required by law. Our Reports are available on our website and placed in the libraries of both Houses of Parliament.

The BBFC views providing the public, especially parents, with detailed and accessible information about the works it classifies as another essential element of its function and accountability. This service is called BBFCinsight. BBFCinsight is published on our website and our free mobile apps. BBFCinsight empowers parents and other viewers to make informed choices about what they and their families watch both at home and in the cinema.

8 BBFCinsight and resources

Helping viewers make informed aware of, including examples of mild decisions bad language, or themes such as The BBFC’s main website, divorce or bereavement that might www.bbfc.co.uk, provides not impact on the age rating but information about all works classified which might upset some children. by the BBFC. Works classified at U, Parents can find a short summary of PG and 12A may also be found on BBFCinsight on DVD and Blu-ray the BBFC’s website for children, packaging and on the theatrical CBBFC. BBFC black card shown before a film at the cinema. We publish more All BBFC film age ratings come with detailed BBFCinsight on the BBFC Guidelines review found that 75% of BBFCinsight. BBFCinsight includes website and the BBFC iPhone and the British public understand that a both a summary sentence and a Android apps. BBFCinsight is film rated 12A is generally suitable longer explanation about why the available for every film and video for children aged 12 and over, but a film received the classification it did. game classified since Autumn 2007. younger child may see the film if BBFCinsight provides details that accompanied by an adult. Following parents have told us they like to be In 2013 the BBFC Classification a three-month cinema advertising campaign in 2014, the BBFC continued to promote the 12A certificate in 2015. David Cooke published a Huffington Post UK blog about the classification of Jurassic World at 12A and questions about the certificate were answered as part of the BBFC’s regular Twitter Q&A sessions.

The BBFC also took part in Safer Internet Day in 2015, publishing a video about how the BBFC works with young people, their parents, other partners and VoD platforms to help create a safer internet. The video demonstrates how the BBFC consults teenagers as part of its regular Classification Guidelines review, as well as what parents and teenagers said about the classification of film content available online during the most recent review of the Guidelines (90% of parents with children under 16 said it is important to have consistent BBFC classifications for video-on-demand content). The Safer Internet Day video is on the BBFC and CBBFC websites.

In 2015 we reviewed the format of the BBFC podcast, leading to shorter and more frequent bi-weekly episodes. Themes and film case studies covered in these podcasts included classifying sci-fi films, classifying discrimination, and the films Django (1967) and Alien (1979).

In addition to the podcast, the BBFC continued to communicate with the public through the @BBFC Twitter account and regular email newsletters.

9 Letters from the public

The BBFC generally receives a advice as to how the film distributor's scene involving an eye-gouging was relatively small number of complaints desired 15 rating could be achieved. slightly too strong for the company's about its classification decisions, and Otherwise, the film would have been preferred 12A classification. We this continued to be the case in 2015. classified 18. The distributor chose to therefore suggested reductions to The BBFC responds to every email make changes before formally this scene. What remains in the and letter, providing the rationale for submitting the film for classification. classified version of the scene is a its decision and addressing any While there are some strong brief implication of what is specific points raised by the moments of violence in the film, they happening, with only limited visual correspondent. Public feedback is are relatively brief and do not 'dwell detail. important to the BBFC. It provides an on the infliction of pain or injury' to immediate response to BBFC the extent they require an 18 There is also a torture scene. decisions and helps shape the classification. The BBFC therefore Although the idea is unpleasant there research and large scale public classified the film 15. is limited detail depicted. Given the consultations carried out at each lack of detail in the scene and the review of the BBFC Classification Other complaints focussed on a context of an action film featuring a Guidelines. scene involving a crude sex larger-than-life hero character who reference which is unexpected but always defeats his enemies, this Spectre and Kingsman: The Secret intended to be funny. In part thanks to moderate violence is acceptable at Service generated the highest the comic context, this line did not 12A. Another scene, showing the numbers of public feedback during require the entire film be restricted to bloody aftermath of a suicide, was 2015, with Spectre receiving 40 an adult audience only by way of an similarly reduced. complaints and Kingsman: The 18 classification. Secret Service 38. Given the relative Absolutely Anything attracted box office figures of the two titles, The BBFC also received some complaints because of strong however, a larger proportion of the complaints regarding the fact that the language and sex references. audience for Kingsman: The Secret distributor chose to change parts of Service wrote in to complain. the film to achieve a 15 rating. The The distributor reduced the decision to release the film at 15 with frequency of strong language in the One of the issues raised by the cuts, rather than 18 uncut, is not one film following advice prior to the public with regards to Kingsman: for the BBFC. film's submission to the BBFC for 1 Kingsman: The The Secret Service was the level of formal classification. The film Secret Service ‘15’ violence at 15, particularly in regards Complaints about Spectre focussed originally contained over 20 uses of to a fight scene in a church. on scenes of violence. During post- strong language. The 12A version of 2 The Maze production, the distributor sought the film contains six uses of strong Runner: The The BBFC saw a version of the film advice on whether it could secure a language (f**k) and some moderate Scorch Trials before it was complete and offered 12A classification and if so, how. One and mild bad language. The ‘15’

10 Letters from the public language in Absolutely Anything into them slipping unharmed through classified the film at U. was therefore within the Guidelines a noose and playing with the gallows. at 12A. Nevertheless, 22 members of The scene takes place in an There were 21 complaints about the public complained about the unrealistic, comic and slapstick violence and threat in The Maze number of uses of the ‘F word’ as manner which is likely to be familiar Runner: The Scorch Trials . Scenes well as some references to sex. to young viewers, who expect the include gangs of people operating in Minions to survive. The realistic risk a lawless environment, and infected The BBFC's Guidelines state that of harmful imitation is very low zombie-like people attacking other strong language (e.g. 'f**k') may be indeed. characters. passed at 12A, depending on the manner in which it is used, who is Some of the Minions complaints The distributor sought advice on how using the language, its frequency and concerned a chase scene involving a to secure the classification it was any special contextual justification. pale-faced man holding a chainsaw, aiming to achieve. The BBFC advised Verbal sex references should not go and a clown juggling bombs. At U, that the film was likely to receive a 15 beyond what is suitable for young scary or potentially unsettling certificate but a 12A classification teenagers in a 12A film. Comedy sequences should be mild, brief and could be achieved by making some may lessen the impact of some unlikely to cause undue anxiety to changes, including reducing moderate sex references or young children. The outcome should moments of threat and horror innuendo but frequent crude sex be reassuring. The fantastical and involving zombie-like characters, and references are unlikely to be animated context significantly reducing the focus on injury in a accepted in this category. The distances the scenes from real life. scene in which a man is beaten for language in Absolutely Anything Within the wider context, Minions is information. When the film was was therefore within the Guidelines a well-known franchise which plays formally submitted for classification, at 12A. off the idea of 'villains', so images of these changes had been made and, villainous characters are to be consequently, the film is within the Minions received 16 complaints, expected. Furthermore, the Minions Guidelines at 12A where moderate mainly focussing on a scene set in a remain unfazed and unthreatened. physical and psychological threat is medieval-style torture dungeon. The They instead appear to have lots of permitted, as long as horror Minions are stretched on a rack, fun working together, adding to the sequences are not too frequent or where it is apparent that they do not comic tone which runs throughout. sustained and the overall tone is not come to any harm, and this develops After careful consideration the BBFC disturbing.

11 Media education

Our education programme continued successfully during 2015 with BBFC staff delivering 152 teaching sessions to 10,000 people across England, Scotland, Wales and Northern Ireland. Audiences included cinema- goers, adult learners, students, teachers, parents, industry professionals, local government officials and young children. Most of our presentations focused on current cinema regulation, though some groups asked specifically to hear about historical classification decisions, and our non-statutory partnerships including our Watch & Rate service for online content, our Classification Framework for Mobile Network Operators, and BBFC research.

We continued to hold regular in- house seminars for schools and universities, as well as international educational tour operators, completing 50 seminars (up from 39 in 2014) during the year. In addition to in-house seminars, we also promote remote learning opportunities and hosted Skype calls with young filmmakers and university students.

Our external visits programme over 110 home-educated learners teachers and students, we published makes up the majority of our face-to- and adults, plus a small number of BBFCinsight for 30 older film titles face outreach work. Over 2015 we young people from pupil inclusion classified prior to the introduction of travelled to eighty external locations units. BBFCinsight. We also answered to deliver 99 sessions across the UK. student queries from university Many of these were at schools, We supported the BFI Academies, students, A-level students, younger colleges and universities. We also working with groups in Belfast, learners and teachers. Subjects attended the Media Live! conference Bradford and Manchester both in included sex in films aimed at a teen in Paris, talking to 540 media and film person and via Skype, addressing a audience, product placement, age studies students from the UK, and new generation of directors, rating music videos and employment took part in events for teachers and producers and technicians. We opportunities in the industry. learners at the BFI. delivered similar sessions to industry newcomers, with our Head of We updated our website for children, Outside traditional education Education and Head of Operations CBBFC, in line with the i-Rights settings, we delivered sessions to speaking to delegates on the FDA campaign and expanded our participants at Picturehouse's foundation course. database of films on the site to CINEMANIA events, the Hampshire include 12A releases. As the year Discovery Centre, the Trash Cannes We spoke to Local Authority ended we started a project to Festival, the UCL Film Society and the licensing committee representatives improve CBBFC further by adding Stony Scala Film Club. at the North East Region Training Day modified long form BBFCinsight for in York and to staff at the Empire all new releases, allowing children to We maintained our successful Cinema Conference, introducing our read about classification issues in collaboration with education charity current Classification Guidelines and new films and directing adults to our Into Film, hosting events at the Hay BBFCinsight. main website and free app. Festival and the Into Film Festival 2015. During the Festival we travelled New education web content included The education team continued to run to 14 locations in England, Scotland case studies as well as historical its annual survey asking teenagers and Wales, introducing 19 film podcasts about films and genres of about their viewing habits and the screenings to over 2800 attendees particular interests to students. classification of recent cinema 1 Hotel from secondary and primary releases and presented the findings Transylvania 2 schools. The Festival also attracted In response to requests from parents, to internal stakeholders. ‘U’

12 Research

We commissioned two pieces of • 75% of parents would like online 2011 to measure attitudes toward the original research in 2015. Bernice channels to link music video age classification of streamed/ Hardie Market Research Ltd. carried ratings to parental controls downloaded videos. In total, the out both, on behalf of the BBFC. • given the choice, 86% of parents researchers conducted 3421 would encourage/ensure their interviews. The first research project gauged children watch online channels public feedback on the BBFC's joint with clear age ratings The research showed that UK parents pilot project for the age rating of want to see the same classification online music videos. We carried out information provided for films at the the pilot in tandem with the British The research concluded that the cinema, and on Blu-ray and DVD, Phonographic Industry (BPI), the UK's public positively received the online applied to film and video content major music labels and video- age ratings used in the pilot scheme, available on VoD services. Other hosting platforms. The research, but to be fully successful in terms of findings included the statistic that 85% of parents consider it important backed by the Government, protecting children and empowering to have consistent classification canvassed the opinions of over 3,000 consumers, more platforms and more online and offline, and that 70% of members of the public across the UK, labels (particularly US labels) would viewers noticed and correctly and we published it in September. It need to participate and age ratings recalled VoD content labelled with found that: would need to be linked to parental BBFC age rating symbols, whereas controls. Work is continuing with only 9% noticed plain numeric or text • 70% of parents of under 12s are Government and others in this area. age rating labels. The research also concerned about their children showed that prominent display of being exposed to inappropriate The second piece of research for the identifiable and trusted age ratings content in music videos BBFC looked at the classification of next to film titles on VoD, and before • up to 60% of children said they content available on video-on- the prompt to buy, stream or have seen content in online music demand (VoD) services, and download content, is the most helpful videos of which their parents involved parents, adults over 18 and form of labelling. Finally, over 78% of would disapprove children, from England, Northern adults find BBFCinsight information • 78% of parents value age ratings Ireland, Scotland and Wales, and built useful, with our app considered for online music videos on similar research carried out in useful by 82%.

13 BBFC digital services

In addition to the BBFC’s work classifying music videos online and regulating internet content delivered via the UK mobile networks, we continue to drive child protection and consumer empowerment online through voluntary classification services for video distributed via the internet – an area where classification is not required by UK law.

The BBFC provides two key digital services. Firstly, we enable VoD services to license the use of BBFC age ratings. Any BBFC classification issued for home entertainment formats (DVD, Blu-ray) can be used when the equivalent digital version is made available online.

This allows UK consumers to make the same informed viewing choices 1 when consuming video online as they do at the cinema and on DVD/Blu-ray.

Certain VoD services, including of features and TV episodes that are children’s and documentary content iTunes and BT TV, insist that any either not being released on for the first time. In addition, Amazon feature without a BBFC classification packaged media, or premiere first also submitted its first run and is clearly labelled as ‘Unrated’. online. This year the BBFC continued original content for classification. Increasingly, services such as iTunes to evolve the service to ensure that are ensuring this unrated content is digital-only classification was Finally, while the BBFC has made handled as 18-level content when accessible to producers of all types great strides establishing its parental controls are enabled. of content. classifications as the standard for film age labels online, we are still In 2015 the digital video sector The consolidation of VoD services developing our work with captured a 48.5% share of the video first seen in 2014 continued this year. transactional TV content online. The market compared to physical 28 brands operating VoD services BBFC has a long history of classifying media*. Annual revenues from all continue to license and display BBFC television works when released on forms of Video On Demand broke age ratings on their service. DVD, but those classifications do not the £1bn barrier for the first time, However, Samsung, Film4OD and always directly translate to how these showing a 30.3% year-on-year CinemaNow discontinued their works are released online. growth. transactional VoD offerings in the UK, while Tesco’s Blinkbox service was In 2015 the BBFC began a multi-year These changes in the market are acquired, and replaced, by TalkTalk. project to address issues with its reflected in the growth of our other catalogue of historical data for key service to the digital sector. Our Services operated by Amazon and television ratings. When complete, non-statutory classification service is Disney subscribed to licences to Video On Demand services will be aimed at encouraging the voluntary display BBFC age ratings and other able to easily and accurately identify classification of works that bypass classification data for the first time existing BBFC classifications for this release on traditional packaged this year. TV content. The aim is to enable easy media formats (where classification use of these trusted and understood is required by UK law). 2015 also saw the explosion of web age labels, and provide the public TV. This relates to original with much more informed labelling The industry's take-up of our digital- programming being produced for, or information than the current binary only Watch & Rate service grew acquired by, VoD services. In the UK ‘Caution’ or ‘Guidance’ labels often significantly in 2015, when units this is driven by Netflix and Amazon. used against TV content online. submitted and minutes viewed increased by 74.5% and 41.2% Both services are premiering drama, Source: * respectively on 2014. comedy, specials, documentaries http://www.cueentertainment.com/dig and children’s content. In 2015 the ital-helps-uk-entertainment-business- Established in 2010, the Watch & Rate BBFC extended its work with Netflix to-all-time-high/ service is mainly used by distributors in this area by classifying its original 1 Carol ‘15’

14 Mobile content

During 2015, the BBFC regulated, on which had been classified 18 by the a best practice, voluntary basis, BBFC; the promotion of potentially commercial and internet content harmful attitudes, and attitudes which delivered via the mobile networks of carried the potential to constitute EE, O2, Three and Vodafone. Part of both religious and racial hatred. The this service involves setting the BBFC considered the content on standard through the independent these websites to be unsuitable for Classification Framework the Mobile people under the age of 18 Operators use to filter access to that according to the Classification content. Framework and the BBFC's The Classification Framework defines Classification Guidelines, and in content that is unsuitable for appeals or enquiries where we found some cases the BBFC would have customers under the age of 18 and is content to be over-blocked. These refused to classify said content. based on the BBFC's Classification related to issues or areas of interest Guidelines for film and video. The that would not be restricted to a The BBFC also adjudicated appeals Framework is used by Mobile classification of 18 or above under the new EE ‘Strict’ Operators to filter and restrict access according to the Classification Classification Framework. As a result, by those under 18 to age Framework or BBFC Guidelines, but some websites were considered by inappropriate internet content. which could in some cases the BBFC to be unsuitable for potentially cause offence or be children under the age of 12. These unsuited to viewing by younger In March 2015, the BBFC launched an included a website about specialist children. Such website content additional Classification Framework sexual assault referral centres in specifically for EE network customers included information about a network London; political blogs containing who wish to set filter levels to 'Strict' of specialist sexual assault referral strong sex references, violence and level. This is designed to ensure that centres in London; gun trading language; discriminatory content; all content is suitable for children websites; a support network for under the age of 12. Again, we base marijuana addicts and various and a lifestyle blog containing strong this on our Classification Guidelines political blogs. and occasionally crude references to for film and video. sexual activity. There were two appeals where A free appeals procedure operates material was correctly placed as The BBFC published four quarterly under these Classification suitable for people under the age of reports during 2015 detailing each Frameworks. It is open to any website 18. These related to politically appeal made to the BBFC under the owner, content provider, consumer minded sites containing a large Classification Framework, including or any other person who is number of posts and/or articles. The the outcome of each case. These dissatisfied with the application of the views expressed in these blogs or reports are available on the BBFC Classification Frameworks in respect websites, while open to debate, were website. In addition, we published of a piece of content available via in the spirit of providing a legitimate three EE ‘Strict’ Quarterly Reports. mobile networks. In the first instance, side to an argument. appellants contact the appropriate The Mobile Classification Framework mobile network operator. If the issue In 2015, 16 of the appeals or demonstrates how the Classification is not resolved, they may contact the enquiries received related to Guidelines can be successfully BBFC for an adjudication. websites correctly placed behind adult filters, or required placing applied to very large volumes of During 2015, the BBFC received 36 behind adult filters. Such material online content. It has become an appeals, complaints or requests for included the promotion of cannabis efficient self-regulatory model and advice relating to 49 websites. These use; the invitation to participate in the Mobile Network Operators came from website owners, members 'adult chat'; strong references to should be commended for their of the public and the Mobile sexual activity; sexualised nudity; the responsible and innovative approach Operators themselves. There were 18 sale of sex toys and aids; material to child safety online.

15 Music videos

In March 2015, the BPI and BBFC, in Music UK agreeing to continue to and U2's Every Breaking Wave , partnership with Vevo and YouTube, submit online music videos for which includes strong bloody injury and UK record companies Sony classification. The Government also detail. Music UK, Universal Music UK and announced that independent UK Warner Music UK, announced the music labels would take part in a Dizzee Rascal's Couple Of Stacks second phase of the pilot to age rate further six-month phase of a pilot to contains strong bloody violence, music videos online. classify music videos released by gore and very strong language, and artists signed to their labels. was the only online music video to The first phase, beginning in 2014, require an 18 classification during was successful. The three major UK BBFC research into the pilot, 2015. record companies (Sony Music UK, published in September 2015, found Universal Music UK and Warner 70% of parents of under 12s are We would like to thank the BPI, Sony Music UK) submitted to the BBFC for concerned about their children Music UK, Universal Music UK and age rating any music videos for being exposed to inappropriate Warner Music UK, as well as Vevo release online in the UK for which content in music videos and given and YouTube, for their commitment in they would expect to be given at the choice, 86% of parents would working with Government and the least a 12-rating (around 20% of all encourage/ensure their children BBFC to establish the classification music videos released by these watch online channels with clear age service. In independent research, labels within the pilot were likely to ratings. parents and teenagers told us that be subject to a rating). These ratings they welcomed this service and we included bespoke BBFCinsight Among the music videos to receive a look forward to continuing these content advice, explaining in more 12 classification in 2015 were DC partnerships in 2016. The BBFC is detail why an age rating has been Breaks' This Is Love , for moderate committed to continuing to work with given: for example, that scenes drug use, Foxes' Better Love , for Government and other partners to include sexual imagery or other moderate sex references, The deliver its pledge that all music content inappropriate for younger Vaccines' Dream Lover , for videos shown online in the UK viewers. The second phase of the moderate violence and threat, and display clear age ratings. To this end, pilot involved these age ratings and Florence + the Machine's Queen of we will support efforts to engage BBFCinsight being displayed on Peace/Long & Lost , for moderate with key stakeholders to ensure that music videos uploaded to digital violence and nudity. artists signed to UK independent and service providers Vevo and YouTube. international labels are brought A number of music videos were within the scope of the classification On 18 August 2015 the pilot was classified 15, including Ellie system. made permanent, with Sony Music Goulding's Love Me Like You Do , UK, Universal Music UK and Warner which contains strong sex references,

Enforcement

Under the terms of the Video Recordings Act 1984 (VRA) it is illegal to supply an unclassified video work on DVD, Blu-ray or any other physical format in the UK, unless the work is exempt from classification. The BBFC assists Trading Standards Officers and the police by providing Certificates of Evidence in respect of seized works. In 2015, the BBFC provided evidence on 275 works. In June, the BBFC hosted an exhibition stand at the annual Chartered Trading Standards Institute (CTSI) conference; this promoted the BBFC’s services and provided the opportunity to discuss a range of matters with Trading Standards Officers. 1 Legend ‘18’ 1 2 Inside Out ‘U’

16 2 U – Universal

The BBFC's Classification Guidelines head – Joy, Sadness, Fear, Disgust collapse. There are also scenes in state that 'a U film should be suitable and Anger – and how they work which a city is attacked by an army, for audiences aged four years and together to help her overcome which shoots fireballs over its walls, over' and 'should be within a positive changes in her life. There are several causing people to rush around in framework and should offer scenes in which characters must panic. There is an impression of reassuring counterbalances to any avoid danger, including one in which people being hit or killed, but violence, threat or horror'. Although the ground is falling away beneath injuries are merely suggested. In a U is the lowest of the BBFC's them, and another in which they have further scene a woman has a sword classifications, U works are rarely to avoid a slightly scary clown held to her throat, but this threat is entirely free of issues. When deciding character. There is also a sad scene brief and the woman comes to no whether a work can be classified U, in which a character sacrifices real harm. Although the threats are the BBFC takes into account specific himself to save his friend. Although from dangers that are less fantastical issues including threat, violence, some of these moments are a little than those in Inside Out , the overall distressing images, drug use, upsetting, all the scenes are brief and tone of the film is light, with a firm discrimination, bad language, crude are balanced by reassuring emphasis on good overcoming evil. humour and nudity, while also outcomes that promote positive The threat is unlikely to confound considering more general aspects messages suitable for young parental expectation at U, and is such as genre, theme, tone and audiences. The threat also occurs therefore classified at the most junior impact. within a clear fantastical setting, category. which is likely to mitigate any Threat is an issue that is carefully potential anxiety in children, thus In Cinderella , there are no specific considered by the BBFC, particularly permitting the film's classification at U. moments of threat that are of concern at the junior categories. At U, the at the U category, but there are Classification Guidelines state that A slightly greater degree of realism scenes of emotional upset, such as 'potentially unsettling sequences occurs in the Iranian animation when family members die and when should be mild, brief and unlikely to Princess of Rome , though by being the central character is mistreated by cause undue anxiety to young set in the ninth century, the context of her stepmother and stepsisters. 1 The Spongebob Movie: Sponge children. The outcome should be the film is somewhat distanced from Thematically, these scenes are Out of Water ‘U’ reassuring.' A film that contains some present day reality. Human characters treated sensitively and are scary moments is Disney Pixar's are threatened by natural disasters, counterbalanced by reassuring 2 The Tale of Inside Out , which is about the such as an earthquake which causes moments, which focus on the Princess Kaguya emotions inside an 11-year-old girl's the walls and ceiling of a building to heroine's courageous and resilient ‘U’

18 U – Universal nature. The positive messages that playing with the gallows. None of the sight of the baby in-between her arise from the more emotionally Minions are injured by the torture splayed legs. Although there is some challenging moments help to create devices and the scene is both comic detail shown, the images in question an overall light-hearted and magical and wholly unrealistic. The are brief and entirely natural. They tone that is suitable for younger characters' pliable physicality and also occur within a historical viewers, particularly given the well- naughty nature is likely to be familiar documentary context in a film that is known fairy-tale origins of the story. It to even the youngest of audiences, neither aimed at, nor likely to appeal is classified U with the short who expect the Minions to be able to to, young audiences. The images are BBFCinsight of 'very mild scenes of survive actions no human could. The unlikely to cause undue distress in emotional upset'. comic slapstick is a typical feature of this context and the film is therefore works aimed at children, such as once again classified U. The Guidelines state that, at U, Tom and Jerry , and is unlikely to 'violence will generally be very mild. provoke harmful imitation. The film is Rude humour is an issue the BBFC Mild violence may be acceptable if it classified U. takes into account when classifying is justified by context (for example, films for a junior audience. In the comedic, animated, wholly Older works that are resubmitted to comedy sequel Hotel Transylvania unrealistic).' In Minions , a comedy the BBFC for a modern classification 2, there is a comic reference to a spin-off from the Despicable Me can also raise issues. Dziga Vertov's character's wig looking like a films, there are several scenes of mild 1929 documentary Man with a 'baboon's butt' and a pair of slapstick violence. In one scene, set Movie Camera , was submitted for 'grandma boobies'. In another in a medieval torture chamber, an theatrical classification for the first scene, a green monster appears to attempt is made to torture the time in 2015 having been classified U go to the toilet and green liquid is Minions using various devices, for DVD release in 2008. It contains seen spurting from his bottom. These including a rack. The scene also some potentially distressing images, mild examples of rude humour are features a Minion slipping, including a dead body being carried not the main focus of the film and unharmed, through a noose, as well away on a funeral wagon and a take place within the context of a as subsequent sight of other Minions woman giving birth to a child, with generally good-natured work about

19 U – Universal acceptance and belonging, which offers positive messages to young audiences. Accordingly, it is classified U. Similarly, The Spongebob Movie: Sponge Out of Water also contains mild rude jokes about bodily functions, with references to farting, 'dirty bottoms' and the smells left in toilets. This kind of comedy is familiar to young audiences from the TV programme and is long established as the kind of humour that appeals in particular to younger viewers. It is classified U.

At U, 'occasional nudity, without sexual context' may be allowed. In the Japanese animation The Tale of Princess Kaguya , there are examples of nudity when children are seen playing naked outdoors, and also when a mother breastfeeds her child. As the nudity is all completely natural, without any sexual element or sexualisation, it does not challenge the Guidelines at U. This is also true of the nudity in the documentary The Impressionists and the Man Who Made Them which features images of nude men and women in impressionist paintings. In this work, the educational and artistic context of the nudity are mitigating factors which also permit the issue to be classified at U.

1 Pan ‘PG’

20 1 PG – Parental Guidance

Works classified PG are generally which they find to overcome these handling of these issues in the film as suitable for children aged eight years physical and emotional challenges a whole allowed it to be classified and over. PG films may contain a allows the film to be classified at PG, PG. level of intensity that exceeds what is alongside BBFCinsight advising of appropriate for the youngest mild threat and violence. Of course, the fact Peter Pan is such a children, although they will generally well-known story means audiences contain elements such as humour or Threat to a young character also might approach Pan with particular fantasy that provide sufficient features in Pan , a live action fantasy expectations. This 'known quantity' balance to allow slightly older adventure in which Peter Pan is element can also be helpful in children to enjoy them. 2015 saw a kidnapped and taken to Neverland classifying feature films adapted from number of releases in which by pirates, where he must confront more recent stories. Up All Night is characters that children can identify their dangerous leader, Blackbeard. a comedy feature based on the with are involved in exciting The film contains a number of scenes popular BBC children's show 'Friday adventures. of threat, including children being Download' and is about a group of taken from their beds by pirates, teenage friends who go on holiday The Good Dinosaur is an animated characters being made to walk the together and find themselves staying adventure about a dinosaur who plank, and characters having swords in a haunted house. The film contains finds himself lost in the wilderness, held to their throats. These scenes some scary moments as the and must face his fears in order to bring some intensity to the action, characters explore the house, find his way back home. The heroic but the film carries sufficient humour including a man being pulled under central characters of the story and quieter moments to balance any a bed, reflections in a mirror moving encounter various threats and threat and violence. The fantasy by themselves, glowing spirits challenges, including falling into element is a strong mitigating factor, passing through a man, and 1 Up All Night rushing rivers, travelling through as is the fact that the central characters turning into ghosts. These ‘PG’ storms, and being menaced by character of Peter is rarely seen to be moments are brief and accompanied hungry predators. The emphasis on scared and manages to confront any by comedy that undercuts any 2 Paul Blart: Mall the bravery and resourcefulness adversity with a brave face. The unduly intense sense of threat. These Cop 2 ‘PG’

22 PG – Parental Guidance

mitigating factors, together with the by a focus on adventure and action, assist distributors in ensuring they expectations brought to the film by and by the characters' attempts to achieve their preferred classification, audiences' knowledge of the solve their problems together. There though a higher classification is television show, allows the are also comic resolutions to these normally available to them. The BBFC presentation of ghostly threats to be predicaments, with the film classified the finished version of suitable for a PG audience. employing frequent jokes and a light Goosebumps PG for frequent scary tone throughout. The evil characters scenes. In a similar vein, Goosebumps is an are, for the most part, relatively adventure horror based on the unthreatening in their appearance The comedy Paul Blart: Mall Cop 2 popular series of spooky books for and are similar to those seen in other was not submitted for advice prior to children by R.L. Stine. The film follows PG works with ghostly horror themes its formal classification. When it was a teenager who tries to save his town such as Paranorman, Jumanji and the submitted for formal classification when a swarm of fictional monsters early Harry Potter films. However, one with a PG request, the BBFC advised escape from the book collection of scene involving a levitating poodle that to achieve that rating cuts were his neighbour, who happens to be that suddenly turns vicious was necessary to remove elements of R.L. Stine. The film contains scares slightly too scary for PG. In the scene violence, and to reduce a focus on and threats posed by various evil in question, the creature's face weapons. The film is a sequel in entities such as a talking contorts in a demonic snarl, its eyes which Paul Blart, a shopping mall ventriloquist's dummy, a giant turn red and it foams at the mouth, security officer, travels to Las Vegas praying mantis, evil garden gnomes making it appear more 'horrific' than for a convention and stumbles across and a yeti. There are occasional jump the funnier, sillier monsters that an art heist. Like the original film, the moments and scenes in which appear elsewhere in the film. sequel contains numerous scenes of characters scream or run in fear from Because the film was shown to the moderate comic and slapstick monsters, with one scene featuring BBFC for advice, ahead of its formal violence. These include characters an evil clown leading other monsters submission, it was possible for being shot and tasered, struck on the in a parade through the halls of a reductions to be made to this head with vases, and being hit in the high school as terrified students flee sequence before the film was chest with a fork which is connected in panic. These scenes are balanced completed. Advice screenings can to an electric cable. The comedy

23 PG – Parental Guidance

context of the film removes the edge Yousafzai, the Pakistani schoolgirl with the BBFCinsight advising that it from most of these moments of who was shot and seriously injured contains brief bloody images. violence, but one fight sequence by the Taliban. Malala has since featured glamorised the brandishing become a potent advocate for the In another documentary, My Nazi and twirling of knives, and another education of girls and the co- Legacy , a human rights lawyer who scene showed a head-butt delivered recipient of the 2014 Nobel Peace lost several members of his family in by the central character. These Prize. The film contains brief images the Holocaust brings together the moments exceed the allowances of of the aftermath of attacks by the sons of two Nazi war criminals, who the Guidelines at PG and the Taliban, including a sequence that take very different positions on the distributor chose to remove the shows the bloodstained seats on the acts committed by their respective display of weapons, and to bus in which Malala and her friends fathers. Throughout the film there are manipulate the head-butt so it looks were shot. There are also verbal references to what happened in the as if the blow being delivered is a accounts of the shooting and the Holocaust, including accounts of comic 'belly shove'. With these cuts injuries suffered by Malala, together mass murder, as well as accounts of made, the BBFC was able to classify with undetailed footage of the death on a more personal scale. the film PG for moderate comic surgery performed on her before There is also archive footage of violence. she embarked on the difficult road to recovery. The film establishes at the concentration camp victims and post- Real-life violence is likely to be more very beginning that Malala survived mortem images of bodies in the upsetting to children than comic her injuries, which reduces the aftermath of executions, although slapstick violence of the type seen in potential for children seeing the film none of these images contain unduly Paul Blart . Nonetheless, provided to be unduly upset by the story of strong detail. The film's deliberately such issues are handled sensitively her shooting and by the footage of sober and restrained handling of the 1 He Named Me Malala ‘PG’ and presented in an educational her surgery. The overwhelmingly subject matter in an educational documentary context were key manner, they can be acceptable at positive and inspirational nature of 2 The Hunger PG. For example, 2015 saw the Malala's story, along with its educative factors in enabling its classification at Games: release of He Named Me Malala , a qualities for young people, meant the PG for brief images of Holocaust Mockingjay – documentary about the life of Malala BBFC was able to classify the film PG victims. Part 2 ‘12A’

24 2 12A Cinema 12 Home Ent

The 12A category is awarded to films category request, which is helpful in aerial dogfights. Although the films in that are suitable, in general, for those determining the audience the the franchise's original trilogy are all aged 12 and over. An adult may take distributor is hoping to reach. At 12A, classified U, the level of violence and a younger child if, in their judgement, BBFC Classification Guidelines allow threat in Star Wars: The Force the film is suitable for that particular for the depiction of moderate Awakens led this latest instalment child. In such circumstances, violence and threat, although being classified 12A without cuts. responsibility for allowing a child instances of violence must not be under 12 to view the film lies with the accompanied by emphasis on blood By contrast, cuts were required to accompanying adult. To help adults or injury detail. 2015 saw the release Maze Runner: The Scorch Trials , make such decisions, the BBFC of numerous action films containing in order to obtain a 12A. Based on the provides BBFCinsight, available on scenes of moderate violence and second book in a trilogy of young the BBFC website and free apps, threat which obtained 12A adult novels by James Dashner, the which describes significant issues in classifications. Examples include the film is a sequel to 2014's The Maze the film that influenced its spy thriller Mission: Impossible – Runner and features the survivors of classification, such as bad language, Rogue Nation , and the concluding the eponymous maze facing a new sex, nudity and violence. The 12 part of The Hunger Games series, series of threats, including zombie- classification is the equivalent The Hunger Games: Mockingjay – like creatures. When its predecessor category for video works, and no one Part 2 . Similarly, Star Wars: The was formally submitted for under 12 may buy or rent a video Force Awakens , the seventh episode classification in 2014 it required cuts 1 Star Wars: The Force Awakens classified 12. of the sci-fi saga which began in to remove stronger moments of threat ‘12A’ 1977, features scenes of moderate and violence to secure the requested Action blockbusters are frequently violence and threat, including 12A certificate. The sequel was 2 Avengers: Age submitted to the BBFC with a 12A lightsaber duels, shoot-outs, and shown to the BBFC for advice ahead of Ultron ‘12A’

26 12A Cinema 12 Home Ent of its submission for formal that the film would likely be classified welcoming visitors, until one of the classification. In some cases, 15 for brief but strong bloody detail carnivorous attractions, a genetic companies choose to submit during a scene of eye-gouging, and hybrid, escapes from captivity. The unfinished versions of films to the for bloody detail in the aftermath of previous three films in the series Board for advice on how to achieve a the suicide of a terminally ill man. were classified PG. While Jurassic particular classification. The BBFC The distributor chose to reduce or World contains similar material to its advised the distributor of Maze remove elements of these scenes. predecessors, the intensity of some Runner: The Scorch Trials that the Spectre also features a scene of action sequences in the film is film was likely to be classified 15 for torture in which Bond is strapped to a greater than in the previous prolonged scenes of intense threat. chair and a micro-drill inserted into instalments. Under current BBFC As a result, the distributor made points in his head. The scene features Guidelines, Jurassic World is more reductions to certain sequences no graphic sight of blood or injury appropriately placed at 12A, which prior to formal submission and the detail, and instead uses sound and does not preclude admission to more film was classified 12A. Bond's facial expressions to suggest robust viewers under the age of 12 as his pain. Given the lack of detail, and long as they are accompanied by an 2015 also saw the release of the the audience expectation that Bond adult. latest instalment of the James Bond will inevitably escape and survive series, Spectre , in which 007 is such threats, the scene is within the Films such as Jurassic World and the confronted by a mysterious and BBFC Guidelines' allowance for Star Wars and Maze Runner series all deadly figure from his past. The depictions of violence at 12A. present violence, threat, and injury distributor of Spectre first submitted within a context that is action-driven, the film to the BBFC in an unfinished Another high-profile 12A release was fantastical, and distanced from reality. form, for advice as to whether the the fourth entry in the Jurassic Park By contrast, other films in 2015 film met the 12A Guidelines franchise, Jurassic World . The film presented violence within a more standard. The BBFC considered that it sees the dinosaur theme park realistic context. The civil rights did not and advised the distributor proposed by the 1993 original now drama Suffragette , about women's

27 12A Cinema 12 Home Ent struggle for equal voting rights romantic action comedy about a romantic novel about a young arts during the early decades of the young couple who encounter student who falls in love with a rodeo twentieth century, depicts scenes of problems between their respective rider. The film was submitted for rioting between protestors and families. The original version of the advice in an unfinished form and police. Blood is seen on characters' film contained some moments of included a scene of sex that was too faces and police are glimpsed strong bloody violence, including a strong for the requested 12A. The lashing out with truncheons, but there stabbing, which the company chose distributor chose to reduce some is no clear focus on injuries or how to re-edit in order to secure a 12A elements of the scene in order to they have been inflicted. The film also classification. obtain a 12A classification, but features a scene of force-feeding, in reinstated some of the cut material which a woman is held down as a Just as depictions of violence, threat, for the film's home entertainment tube is inserted into her nose to inject and injury detail must remain release which is classified 15 for milk into her body during a hunger moderate in order to qualify for a 'strong sex'. strike. The BBFC considered the 12A, so must depictions of, and historical context of these distressing references to, sex. A Little Chaos is Bad language is also a key issue in scenes, where the strong focus on the a romantic period drama following a classifying films at 12A. The women's bravery and humanity blossoming romance between two frequency of strong language ('f**k') counters the brutality. Accordingly, gardeners at the Palace of Versailles. at this category is not always the sole Suffragette is classified 12A. The film features two scenes that determining factor. Contextual establish sexual activity is taking justification, such as the manner in Some films intended to be viewed by place. The first scene is brief and which language is used, in also taken people of all ages in their countries features no nudity. The second scene into account. One such example is of origin feature stronger levels of is slightly longer and features the The Lady in the Van , based on the violence than are permissible under impression of nudity and thrusting, true story of writer Alan Bennett's the BBFC Guidelines for 12A in the but no strong detail. As such, the film friendship with an elderly homeless UK. This is sometimes true for South conforms to BBFC Guidelines at 12A woman. The film contains four uses of Asian films, a large number of which which state that sex may be 'briefly strong language, although only one is are submitted to the BBFC each year. and discreetly portrayed'. Sex was said aggressively towards another In 2015, this included Shah Rukh similarly an issue in The Longest person. The film is therefore Khan's Diwale , a Hindi-language Ride , adapted from Nicholas Sparks' classified 12A.

1 Suffragette ‘12A’

2 A Little Chaos ‘12A’

1 3 Love and Mercy ‘12A’

28 12A Cinema 12 Home Ent

Roger Waters: The Wall , a concert context of these uses, the BBFC version of the film contains six uses of film and part-documentary in which classified the film at 12A. However, it strong language (f**k) and some the singer performs the iconic Pink is still unusual for this number of uses moderate and mild bad language. Floyd album live, features six uses of to be to be classified at this category. strong language in total. Four are Indeed, the comedy film Absolutely When depicting scenes of drug use, spoken uses, although none are Anything , which originally contained BBFC Guidelines at 12A state that directed at a specific person, and the over 20 uses of strong language they 'must be infrequent and should other two uses are written, appearing when seen for advice, had its not be glamorised or give during the concert as a form of language significantly reduced to instructional detail.' This is the case in the historical biopic Love and anarchic protest. Considering the obtain a 12A classification. The 12A Mercy , which depicts two periods in the life of The Beach Boys' singer- songwriter Brian Wilson. In one scene, it is implied that the young Wilson has taken LSD, but this is shown to exacerbate or trigger the psychological condition from which he suffers. The historical, real-life context of the drug use, the discretion with which it is shown, and the depiction of its negative impact of Wilson's life allowed the film to be classified 12A. There are also infrequent scenes of drugs use in X+Y , a drama about an autistic boy who is encouraged to compete in an international maths competition by his teacher. In some scenes, the boy's teacher, who has multiple sclerosis, is seen smoking marijuana. It is suggested that he smokes the 3 drug to relieve pain rather than for recreational purposes, and his drug

29 12A Cinema 12 Home Ent

use is not encouraged or condoned quietly disturbing rather than classification if they are to have a by the film's narrative, especially graphically violent. However, as this cinematic release. National Theatre where the younger characters are and similar scenes could prove Live: A View from the Bridge is a concerned. This depiction adheres to distressing for some audiences, the live recording of a performance of BBFC Guidelines at 12A. film is classified 12A, with Arthur Miller's play about an Italian- accompanying BBFCinsight advising American family in Brooklyn. This Occasionally, classification issues that that it contains 'disturbing images'. production features an implied are not of a typical nature will arise stabbing, and as the characters and present an interesting challenge A range of category-defining issues huddle in the centre of the stage a for the BBFC. A Pigeon Sat on a can also be seen in our ongoing red liquid, representing blood, rains Branch Reflecting on Existence , work classifying music videos online. down on them. Although a symbolic for instance, is a Swedish comedy Among the music videos which image rather than a direct act of film featuring an extended dream received a 12 classification in 2015 violence, it is nonetheless a powerful, sequence in which a number of are DC Breaks' This Is Love , for impressionistically strong scene. The families are locked in a large metal moderate drug use, Foxes' Better film is classified 12A, with the cylinder by soldiers. A fire is lit under Love for moderate sex references, BBFCinsight stating that it contains the cylinder which proceeds to The Vaccines' Dream Lover , for 'one bloody scene'. Similarly, rotate, producing ethereal music from moderate violence and threat, and Carmen is a recording of a live trumpets built into the cylinder. The Florence + the Machine's Queen of performance of Bizet's opera about a whole scene is observed by a Peace/Long & Lost , for moderate gypsy girl's relationship with a number of aristocrats in a symbolic violence and nudity. soldier, performed by the English depiction of colonialism. Although National Opera. It features a scene of the sequence implies an incredible Recordings of live performances of moderate violence in which a act of cruel violence, we do not see theatre, opera, and dance character's throat is cut, and or hear what is happening inside the productions are occasionally infrequent use of moderate bad cylinder, and the scene is surreal and submitted to the BBFC for language. The work is classified 12A.

1 X+Y ‘12A’

2 Mad Max: Fury Road ‘15’

30 2 15

In 2015, the BBFC classified more bullies' who are forced into apparent year period. It contains more films at 15 than at any other category. acts of suicide, thus avenging the frequent verbal references to acts of Unlike the 12A, which permits death of their victim. The film's sexual violence than A Fuller Life , children under the recommended treatment of suicide is thematically including to the violent penetration of age to be admitted subject to adult most appropriately placed at 15 women with sharp objects. This, accompaniment, the 15 is a along with scenes of strong violence, together with strong language, drug restrictive classification. Accordingly, threat and sex, and uses of strong references, nudity, and scenes films classified 15 may include and very strong language. showing actual dead bodies, led the significantly stronger content than film to be classified at 15. Graphic films classified 12A and may also Potentially distressing scenes and descriptions of killing and torture deal with more challenging themes themes also feature in a number of feature in The Look Of Silence , a and issues. documentaries classified at the 15 documentary about genocide in level, even though these works are Indonesia in the 1960s. It includes My Skinny Sister is a contemporary less likely to have immediate appeal interviews with various people in Swedish drama about a young girl to teenagers. A Fuller Life is a which they refer to beheading who discovers her older sister has an documentary about the film-maker prisoners and throwing dead bodies eating disorder. The film focuses on and author Samuel Fuller. In one into a river. They also describe acts her illness, and there are frequent scene, Fuller's journal entry of genital and breast mutilation, and references to it, including distressing describes the case of an Italian drinking human blood. These sight of vomiting and force-feeding. woman who claimed she was raped graphic descriptions adhere to the The emphasis on the eating disorder and mutilated by a fascist. There is a Guidelines at 15 where there may be theme could be confusing and reconstruction of the assault and detailed verbal references to disturbing to younger viewers and so consequent injuries in the form of violence. the BBFC awarded a 15 classification. animated drawings. These visual and verbal references to rape and sexual At 15, BBFC Guidelines on violence 1 Scouts Guide To In a more fantastical vein, but with assault resulted in a 15 classification. state 'Violence may be strong but The Zombie similar thematic relevance to older Tales Of The Grim Sleeper should not dwell on the infliction of Apocalypse ‘15’ teens, the US horror film Unfriended concerns a serial killer who killed pain or injury. The strongest gory concerns a group of young 'cyber women in Los Angeles over a 25- images are unlikely to be acceptable. 2 Turbo Kid ‘15’

32 15

Strong sadistic violence is unlikely to Strong violence also features in some images. There are scenes showing be acceptable'. The Revenant of the year's South Asian releases. the teenage girl being murdered in (classified in 2015; released in 2016), Aazaadi is a Punjabi language different possible scenarios, as well is a US drama about a frontiersman drama about a man seeking revenge as several moments of bloody throat who is abandoned by his fellow fur- against the fake revolutionaries and slashing, a close-up of a man's badly trappers and left for dead, but who corrupt police who killed his family. It battered face, and several photo survives and sets out to seek is classified 15 for strong violence. images of the bloodstained revenge. Scenes of strong violence There are multiple scenes of violence teenager's corpse. Both films are and bloody injury detail include as various characters are shot, with classified 15. people being hit by arrows and blood spurts from bullet impacts, as bullets, and exchanging blows well as some still images of real dead A fantasy context may be a mitigating including with bladed weapons. In bodies lying on the ground. The film factor in passing scenes of violence one scene a man is attacked and also contains sexual threat as a young at 15. Deathgasm , Scouts Guide To tossed about by a bear, resulting in woman is dragged into a room and The Zombie Apocalypse and some focus on deep bloody wounds an attacker lies on top of her. Turbo Kid all have a comic tongue- to the victim. There is also brief focus However, both characters are fully in-cheek feel, which diminishes the on bloody injuries resulting from clothed and the scene ends before impact of their scenes of strong and various acts of violence, including anything happens to the woman. bloody violence, often featuring implied scalping. The film also deliberately implausible and over- contains a scene of sexual violence In the Hindi language drama, the-top fountains of blood and in which a man rapes a woman; Detective Byomkesh Bakshy! , a several dismemberments. however, the sequence is brief and detective investigates the mysterious Accordingly, these films are classified lacking in nudity. These scenes death of a chemist in 1943 Calcutta. 15. Crimson Peak is a Gothic horror required a 15 classification. Much of the violence in the film could film, set in the nineteenth century, in be contained at 12A; however, some which a young American woman While The Revenant was passed scenes of strong bloody violence marries a British baronet and returns uncut at 15, The Boy Next Door , a were more appropriate at 15, with him to his ancestral home. In US thriller about a divorced woman including two stabbings, focus on a addition to fantastical moments embarking on a dangerous affair with knife being twisted in a wound and a featuring nightmarish ghosts, there a much younger neighbour, required man stabbing out his own eye. are some more realistic scenes of a cut to remove a sequence in which Another Hindi language crime strong violence, including a man a person's eye is gouged out, in drama, Talvar , which concerns a having his head smashed several close-up. The subsequent DVD police investigation following the times against the side of a porcelain release reinstated the cut material murder of a teenage girl, also wash basin and a male character and it is classified 18. contains strong violence and bloody being stabbed in the chest and face.

33 15

While strong, these scenes are mitigated by the overall fantastical nature of the film.

Another horror film, Sinister 2 , features an evil spirit manipulating children into killing their families. A character watches home videos of violent murders that took place in his house. The violence is strong, but not sustained. There are also frequent scenes of strong sustained threat in which characters are pursued by supernatural spirits. These scenes led to the film's 15 classification.

Some films classified PG-13 in the USA (a category which allows films to be shown to children of all ages, with the caveat that parents are strongly cautioned that 'some scenes may be 1 inappropriate for children under 13') were classified 15 in the UK during 2015. This frequently happens in the one in which a man is shot. While the the film to within the Guidelines at 15. case of horror films featuring strong scenes contain limited visual detail, tonal elements, such as the remake of the tone is harrowing and the Bad language is still a classification Poltergeist , which involves strong pervasive strong threat puts the film issue at 15, where the BBFC's large threat and horror, and Krampus , most suitably at 15. scale public consultation exercises which contains strong threat. repeatedly demonstrate a concern Mad Max: Fury Road is a post- about the use of very strong Tone also plays a part in the apocalyptic action drama in which language at this level. We Are classification of more realistic films. 'Mad Max' teams up with a new ally, Monster is a UK drama, based on a Son of Saul (classified in 2015; Furiosa, to rescue a group of women true story, in which a racist convict released in 2016) is a Hungarian from an evil warlord. There are murders his Asian cellmate. When drama about a man who is forced to frequent scenes of violence and originally shown to the BBFC for work at Auschwitz, disposing of the threat, including sustained vehicular advice, the film contained fourteen bodies of victims. The film contains chase scenes in which people fight, uses of very strong language, some scenes in which naked victims are are shot and stabbed, or run over by of which were aggravated by forced into gas chambers, as well as vehicles, as well as a scene in which aggression or violence. The BBFC's sight of their naked bodies being a man's mask is ripped from his face, Guidelines at 15 state 'Very strong cleared away. There are further with a brief gush of blood. Although language may be permitted, scenes in which victims are injury detail is limited, the intensity depending on the manner in which it subjected to violence by Nazi guards and sustained nature of the film's is used, who is using the language, its and scenes depicting riots, including despairing apocalyptic tone takes frequency within the work as a whole

1 Son of Saul ‘15’

2 Krampus ‘15’

3 45 Years ‘15’ 2 4 Mommy ‘15’

34 15 and any special contextual justification'. This means that it is unusual to permit more than a handful of uses of very strong language in a submission of normal feature length at 15. In order to achieve its preferred 15 rating, the BBFC advised the distributor to reduce the number of uses of very strong language, in particular addressing the more aggravated uses. When the film was submitted for formal classification, the number of uses were approximately halved and the uses accompanied by violence or other aggravating factors, including one use directed towards a child, were no longer present. The 3 remaining uses, which are mainly self-directed within the central character's head, were acceptable at particularly emotional context to be and comic, with an implication that 15 in this particular context. acceptable at 15 and also recognised the initially enthusiastic male the potential relevance of the film to character is forced to stop when he The French Canadian drama mid-teenagers. Accordingly, the film loses his erection, the suggestion of Mommy contains three uses of very is classified 15. sexual movement on top of his wife, strong language. The film focuses on accompanied by some discussion of the relationship between a single At the lower end of the 15 possibly changing position, is not mother and her troubled teenage classification, films are sometimes sufficiently discreet for 12A, where son, who is attempting to regain excluded from the 12A category by the Guidelines state 'Sexual activity control of his life following the death the inclusion of occasional strong may be briefly and discreetly of his father, while also battling a language. For example, 45 Years is a portrayed'. By contrast, the BBFC's psychiatric disorder. The first use of British relationship drama about a Guidelines on sex at 15 state that very strong language is undirected, secret which is uncovered in the 'Sexual activity may be portrayed, while the second use occurs during week leading up to a couple's 45th but usually without strong detail'. an angry and emotional outburst by wedding anniversary. While the film the teenage son against his mother. is fairly gentle, eight uses of strong Carol is an example of a film that The third use occurs when the language exceed the 12A Guideline was pushed into 15 by a single sex teenage son is provoked by a requirement that strong language scene. The film is a US drama set in drunken older man in a bar and should be infrequent. In this case, the 1950s about the relationship briefly fights back before being further weight was given to the 15 by between a shop girl and a glamorous ejected. The BBFC considered the the presence of a sex scene. older woman. The one sex scene very strong language in this Although the scene is both honest between the two women features sexualised breast nudity and the suggestion of oral sex, which are more appropriately classified at 15. Another British drama, The Falling , which concerns a fainting epidemic that develops amongst a group of schoolgirls after a tragic incident, also contains strong sex, including a troubling incestuous encounter. Although most of the sexual activity is implied and could be acceptable at 12A, one scene features sexual thrusting and partial nudity, although there is no strong detail. There are also a few stronger verbal sex references to orgasms and virginity. Accordingly, the film is classified 15.

The Danish Girl , a period drama 4 based on the novel by David Ebershoff about an early recipient of

35 15 gender reassignment surgery in the early 1930s, contains some scenes featuring nudity in a sexual context. One scene shows nudity as the central couple prepare to have sex, while another scene shows the central character watching a female striptease act. The latter scene includes some focus on the woman rubbing her hands over her naked body. These scenes go beyond the Guidelines at 12A where nudity in a sexual context must be brief and discreet, so the film was classified 15.

52 Tuesdays , an Australian drama about an adolescent girl who is sent to live with her father for a year when her mother starts the process of 1 gender transitioning, resides at the upper end of the 15 category. There are several uses of strong language, genitalia. In one scene, a character then has to get rid of. Scenes of drug as well as scenes of strong sex. There flicks through photographs on a use show characters taking pills and are also strong verbal sex references, camera screen and briefly sees a still smoking marijuana, whilst others use as well as references to adolescent image of an erect penis. The MDMA in pill and powder form. characters creating and sharing emphasis is on the comic reaction to These activities have negative indecent images of themselves. consequences, and do not condone However, it is made clear that such the image, rather than on the image itself. There is also brief suggestion drug use, and this allowed the film to behaviour has negative be classified at 15. consequences, and the film is of a woman performing fellatio, but classified within the 15 Guidelines. without strong detail. Accordingly, the film is classified 15. Amy is a documentary exploring the life and work of singer-songwriter In a lighter vein, the US action Amy Winehouse. The film contains Drug use, along with strong sex, sex comedy Spy , which concerns a very strong and strong language. references and strong language, is a female CIA analyst who volunteers There are also frequent references to major classification issue in Dope , a for an undercover mission, also the use of various illegal drugs, as US drama about a 'straight A' high contains strong sex references. There well as extensive alcohol abuse. are a number of verbal references to school student who finds himself in Although these references are sexual activity, pornography and possession of illegal drugs, which he occasionally accompanied by the sight of drugs and associated paraphernalia, the work as a whole does not glamorise or condone drug use. Therefore, the film is classified 15.

As in previous years, some older films with 18 ratings were submitted for re-release on film, DVD and Blu- ray. In some cases, the films are over 20 years old and their power or impact has diminished to the extent that they are now acceptable at 15. These films included Mad Max , Mad Max 2 and Love Is The Devil .

1 Carol ‘15’

2 The Danish Girl ‘15’ 2 3 Legend ‘18’

36 3 18

Where concerns arise about content using classifications at 18 where in the most challenging scenes in works at lower categories they can appropriate and cutting material enabled the film to be passed usually be dealt with by giving a were necessary. Some of the most without intervention. The 1984 film higher classification. But at 18 the challenging material considered by Blastfighter and Walerian only option may be to cut or refuse to the BBFC in 2015 concerned Borowczyk’s 1981 film Dr. Jekyll Et classify a work. Guidelines at 18 representations of sexual violence. Les Femmes were both also passed therefore reflect a desire to balance The BBFC’s Classification Guidelines uncut after previous cuts to sexual concerns about protecting rights to state that we may refuse to classify violence from the 1980s were no freedom of expression with a need to content which makes sexual or longer judged necessary under the protect vulnerable individuals, and sadistic violence look appealing or BBFC’s current Guidelines. wider society, from the possible acceptable; reinforces the suggestion harmful effects of some film and that victims enjoy sexual violence; or The 1991 German horror film video material. This position invites viewer complicity in sexual Nekromantik 2 was passed without corresponds with the legal violence or other harmful violent cuts at 18, with scenes of sex and framework within which the BBFC activities. sexualized violence, including a operates, including the Human Rights scene in which a woman decapitates Act 1998, the Video Recordings Act The BBFC classified at 18 I Spit on a man she is having sex with, 1984, and the Obscene Publications your Grave III: Vengeance is Mine meaning that no lower rating could Acts 1959 and 1964. The BBFC’s and The Human Centipede III be considered. Classification Guidelines, (Final Sequence) . Both contain underpinned by strong public scenes of sexual violence. However, Emanuelle and the Last support, respect the right of adults to neither raised the level of concern Cannibals , a 1977 horror film which decide for themselves what to watch. which the BBFC had in relation to was originally cut for X before being The BBFC tries to keep exceptions to earlier films in their respective cut again for 18 in 2002, was passed this principle to a minimum. Since its series; both being notably different in uncut. The BBFC considered amendment in 1994, the Video terms of content and tone compared previous cuts to sexual and Recordings Act has placed a duty on with their predecessors. sexualised violence against current the BBFC to have ‘special regard Guidelines and policy and, while still (among other relevant factors) to any The 1972 Italian horror film What requiring restriction to adult harm that may be caused to potential Have You Done to Solange? was audiences, the film’s limited detail viewers or, through their behaviour, passed 18 with previous cuts relating and lack of credibility meant that the to society by the manner in which the to stabbings to women’s crotches intervention of cuts was no longer work deals with: criminal behaviour; waived. The original film submission necessary. illegal drugs; violent behaviour or in 1973 failed to receive a certificate, 1 Hyena ‘18’ incidents; or human sexual activity’. after which it was cut for video The psychological thriller Return to Throughout 2015 the BBFC continued release in 1995. The dated nature of Sender sees a woman dealing with 2 Rec: Apocalypse to give special regard to harm issues the film and the relative lack of detail the complex consequences of a rape ‘18’

38 18 which is shown in an early scene. violence alone. There were, however, There were films which were re- While there is no nudity, the scene is several films placed at the adult released in cinemas which retained protracted and brutal in its focus on category by the BBFC because of the their restriction to adult audiences the humiliation and suffering of the strength of their depictions of despite the many years since their woman. This harrowing scene goes violence. These included Legend , a original releases. The 1993 film True beyond the Classification Guidelines film starring Tom Hardy as both of Romance remained an 18 for at 15 and consequently the film is the Kray twins, which contains a bloody violence, in particular a restricted to adult viewers. drawn out scene in which a man is scene in which a woman is repeatedly brutally stabbed and left repeatedly punched and beaten with The British crime drama Hyena was heavily bloodied. dwelling on her injuries. The Long also restricted to an 18 rating in part Good Friday , the British crime for a scene of sexual violence in In the UK thriller Bait , a young drama from 1980, also retained its which a drugged and unconscious couple fall foul of a loan shark. The restriction to adults, having originally woman is raped by a man whose film includes scenes in which victims been passed X. A scene in which a erect penis is briefly seen as he of the loan shark are attacked when man is repeatedly stabbed in the approaches her. Despite the detail, in they cannot pay. The results of such neck with a broken bottle still carries this case, particularly when the film is scenes, as well as scenes of fighting, a shocking impact and a focus on taken as a whole, the scene is see teeth cracked, fingers pushed pain and injury which is best placed aversive rather than serving to through a man’s cheek, and a at 18. titillate. While it required an adult person’s head partially decapitated restriction, it did not require any and brain matter exposed. These In respect of horror films, the BBFC further intervention. gory and sadistic scenes could not does not intervene merely because be contained at 15. these works might alarm or shock. The BBFC is confident that the Indeed the likely audience chooses differentiation in its treatment A sustained sequence of torture to watch such films because they between sexual and non-sexual contributed to the 18 rating for the enjoy being frightened. However, the violence is substantiated by the Alejandro Jodorowsky film The BBFC does ensure that the young and available evidence and, additionally, Dance of Reality . A man is tortured vulnerable are protected. Works research undertaken to inform the by soldiers in a variety of ways, featuring strong threat and menace BBFC Guidelines shows the general including electrocution and water which is sadistic or sexualised are public supports this position. In boarding. There is an element of likely to be classified at 18. Horror 2015, as in previous recent years, no sadistic relish on the part of the works at 18 are also likely to contain cuts were made on grounds of torturers which adds to its strength. stronger gory images that are

39 18

extinguisher, and a woman, having been strung up, being eaten by monsters. The strong gore in these scenes required the adult rating.

In 2015 a number of films were classified at 18 for scenes of strong sex including Fifty Shades of Grey , a drama about a young student's sexual relationship with a wealthy businessman. There are several scenes in which the couple have sex, including scenes of sadomasochistic activity in which the woman is blindfolded, restrained, and struck with a riding crop or whip. Fifty 1 Shades Uncovered , a documentary about the popularity of the original book and the BDSM world it unacceptable at 15. Other 18 images are unlikely to be acceptable. explores, also required an 18 rating indicators may include the work for scenes of sadomasochistic sex. being rooted in the real world, as The US horror thriller The Asylum , opposed to having a fantastical about a group of teenagers who The drama The Duke of Burgundy setting or supernatural elements, accidentally summon a vengeful also features a sexual fetish theme horror that is played straight with spirit that takes possession of them which required the adult rating. little or no humour or irony, and the one by one, contains frequent scenes Several scenes show a couple sexual terrorisation of women. of very strong bloody violence and exploring dominant-submissive role- gore requiring an 18 rating, including play including imprisonment in a Rec: Apocalypse , the fourth in the stabbings, impalings, mutilations and small locked chest, breath restriction, Rec franchise, is a horror film about a a gory body dismemberment. and implied urination over another parasitic infection that turns humans character. into zombies, which then run amok Hooked Up , a horror film shot on an oil tanker. Strong gore in the entirely on an iPhone, was taken to 18 Several strong sex scenes in The film includes numerous bloody for violence including stabbings and Diary of a Teenage Girl , a drama stabbings, the sight of flesh being a man's tongue being ripped out, as about a teenage girl having an affair torn by zombie bites and a sequence well as a scene of implied sexualised with her mother's boyfriend, led to showing a zombie's head being torn violence when a man reveals his the film's 18 classification. These apart by the blades of an outboard bloodied underwear and claims that scenes contain breast and buttock motor. Further disturbing sequences a woman bit him during oral sex. nudity and implied oral sex. The show a parasite emerging from the teenage character also experiments mouth of one host and forcing itself The British horror film Howl , about a with prostitution, and in some scenes into the mouth and throat of another. small group of passengers on the last sex is combined with drug misuse. These scenes went beyond the train home attempting to survive an Guidelines at 15 where violence attack by mutant creatures, contains Strong sex also features in Straight should not dwell on the infliction of sight of a disemboweled corpse, Outta Compton , a US biographical pain or injury and the strongest gory repeated beating with a fire drama about the hip hop group

1 The Diary of a Teenage Girl ‘18’

2 Blind ‘18’

3 At Any Price ‘18’

2 3 4 The Duke of Burgundy ‘18’

40 R18

In 2015 there was a small but significant increase in the number of explicit pornographic works submitted to the BBFC. The 583 works in 2015 represent a 7.5% increase on 2014, continuing the trend of year-on-year increases over the preceding two years and making 2015 the highest annual figure since 2011. The proportion of R18 works subject to cuts in 2015 was 13%, a decrease of 6% over the previous year. This continues to reflect the Board’s strict policies on material which combines sexual detail with activity which is illegal, harmful, abusive, or involves a lack of consent or the infliction of pain or injury.

4 The BBFC made cuts to a number of works to remove abusive and potentially harmful activity, including choking and gagging during deep throat fellatio and instances of oxygen N.W.A. Although the level of sexual 2015. Kink is a documentary about being restricted during sexual detail was permissible at 15 on film, the work of a porn producer and activity. Cuts were also made to the subsequent DVD release features behind the scenes footage of remove abusive scenarios contained an extended 'Director's porn being filmed, including a brief encouraging an interest in underage Cut' featuring a threesome moment of explicit penetration. sex. The BBFC continues to cut incorporating drug use, and a scene Another documentary, Chemsex , material in accordance with current in which characters watch a porn about the practice of mixing sex and interpretation of the Obscene film; neither of these scenes were drugs on London's gay scene, also Publications Acts 1959 and 1964 present in the cinema version. features explicit images of real sex. (OPA), which includes, but is not Therefore, the DVD release is Both documentaries are genuine limited to, sexualised urination and classified 18 for strong sex and drug explorations of their subject matter in the expelling of other fluids from use. which the brief explicit detail was genitals. In consultation with illustrative of the subject rather than enforcement agencies, and in order Strong real sex featured in several serving any primary intention to to ensure intervention is consistent films classified at 18 in 2015. Blind is arouse. with current interpretation of the a Norwegian drama about a woman legislation, the BBFC may pass brief who blurs the lines between fantasy Depending on the manner in which and isolated examples of limited and reality when she loses her sight. sexualised urination so long as there very strong language is used, who is In one scene a man looks at are no harm concerns arising under using the language, its frequency pornographic images on a laptop, the Video Recordings Act 1984 (VRA) within the work as a whole and any including thumbnail photographs and where there is no realistic special contextual justification, very and video featuring explicit sight of prospect of successful prosecution strong language may mean a film is oral sex, masturbation and under the OPA. Aside from OPA penetration. At Any Price , a US restricted to the 18 classification. In considerations, the BBFC does not drama about the relationship 2015 there were several British films allow at R18 penetration with objects between a father and his rebellious which featured multiple uses of very likely to cause actual harm, or son, has a scene in which a young strong language. Hackney's Finest , objects associated with violence. woman looks through a a drama about a gang of British drug Consequently, in 2015 cuts included pornographic magazine and reveals dealers, North V South , about the the removal of potentially harmful a bare-breasted woman engaged in rivalry between two criminal penetration with objects which could oral sex. As with Blind , the explicit organisations, Rise of the cause physical damage. In making sexual imagery is brief and isolated Footsoldier II , about an Essex these decisions the BBFC continues and in the context of a dramatic work gangster who considers leaving his to draw upon expert research which where the intention is neither sexual violent life behind him, and Essex can be found on the BBFC’s website. arousal nor stimulation. Boys: The Truth , a documentary Consequently, both features were about the murder of gang members passed uncut at 18. in Essex, all required 18 ratings for multiple uses of very strong Strong images of real sex also language, often accompanied by appeared in documentary films in aggression or violence.

41 Video games and associated media

Since 30 July 2012, and with a few soldier attacks an alien creature with various games. The BBFC exceptions, the responsibility for age a chainsaw, reducing it to bloody considered this material suitable at rating video games lies with the chunks. The BBFC considered this 15 primarily due to one of the Video Standards Council (VSC), material suitable at the 15 category compilation's games, a horror title, applying the PEGI system. The BBFC rather than 18, due to the fantastical featuring artwork depicting various continues to be responsible for nature of the violence and a lack of mutilated individuals, including a classifying any video game content dwelling on detail. We informed the character with skin missing from their attached to primarily linear VSC of this determination. face (revealing the exposed tissue submissions and the VSC must send and teeth beneath), knife-wielding, non-integral linear material, which In May, a remastered version of the infected children, and a figure with may form part of a game, to the BBFC game God Of War III contained exposed innards. for a determination of suitability, as linear material requiring a BBFC this content may affect the overall determination. This footage included The BBFC viewed a short collection classification of a game. In 2015, this interviews, test footage and final of extra material for the music game included add-on material for five gameplay excerpts. Strong violence Guitar Hero Live in June, which in the footage, included sight of depicted the production team video games. The BBFC is also blood during combat, a character creating rock concert footage in a responsible for classifying any video stabbing himself in the torso, a studio for inclusion in the finished games containing R18 level material, decapitation and the ripping out of a product. This material was suitable at U. although no video game has been monster's eye. Strong language was given an R18 classification since 2007. also present, as was breast nudity, In July, the BBFC made a when a character approaches a determination of the horror game In April, the BBFC viewed linear fantastical female character Until Dawn . The game's extra material from Gears Of War: (Medusa). Accompanying conceptual material included numerous Ultimate Edition , a remake of the art also included sight of captive gameplay clips, production footage original Gears Of War . This female characters in chains, with and interviews. The footage included comprised behind-the-scenes reference to bondage. This content sight of a supernatural creature documentary material about the was suitable at the 15 category. attacking human characters, a making of the game, with numerous character with a noose tightened clips of gameplay. The game footage In June, a compilation of historic around his neck, bloody injury detail included sight of both human and games by the studio Rare, Rare in some scenes and occasional alien characters being stabbed or Replay , required a determination strong language. As such, the BBFC shot with accompanying blood because of the presence of bonus informed the VSC that the material in spurts, and a sequence in which a material including documentaries on question was suitable at 15.

Unclassified works

Films, DVDs or digital media which abused and raped, the son is complicity in sexual violence or contain unlawful or potentially branded with a swastika and later other harmful violent activities. We harmful material will, where possible, has his eyes removed. The son is also are also unlikely to classify content be cut. If this is not possible because, forced to have sex with his mother which is so demeaning or degrading for instance, the cuts are so extensive and most of the family are eventually to human dignity (for example, it that a viable release cannot be killed. Although the film concludes comprises strong abuse, torture or salvaged from the remaining with captions which suggest some of death without any significant material, or if the distributor refuses the attackers were brought to justice mitigating factors) that it may pose a to make the required cuts, then a and that hate crime remains a live harm risk.' work may be refused a classification issue in the US, these cautionary altogether. In 2015 the BBFC refused elements do nothing to mitigate the After careful consideration the BBFC to classify one video feature. overall effect. concluded that the unremitting manner in which Hate Crime Hate Crime is a US horror feature The BBFC's Guidelines on violence from 2013 which was submitted for state that 'Any depiction of sadistic or focuses on physical and sexual an online-only release. It uses a sexual violence which is likely to abuse, aggravated by racist invective, ‘found footage’ format, purporting to pose a harm risk will be subject to meant that to issue a classification to show a video recording of the events intervention through classification, the work, even if confined to adults, which unfold when a Jewish family’s cuts or even, as a last resort, refusal would be inconsistent with the home is invaded by Nazi-inspired to classify. We may refuse to classify BBFC’s Guidelines, would risk thugs. The family is terrorised and content which makes sexual or potential harm, and would be racially abused throughout, the sadistic violence look appealing or unacceptable to broad public mother and daughter are sexually acceptable or invites viewer opinion.

42 Legal issues

The BBFC must have regard to under the current interpretation of under the Cinematograph Films several pieces of legislation that the Act and this discussion is (Animals) Act 1937. Compulsory cuts sometimes affect the classification of continued in the R18 section of this were also required to the 1971 film works. The Human Rights Act 1998 Report. The Hunting Party , to remove sight (HRA) requires the BBFC to consider, of a horse being tripped among other things, the requirement Under the Protection of Children Act dangerously. An episode of the that a filmmaker’s freedom of 1978 (POCA), it is a criminal offence Netflix series Bloodline featured a expression is not unfairly infringed to exploit children by making cockfight which also raised animal by its classification decisions. The Act indecent photographs or pseudo- cruelty concerns. In this case the permits such restrictions on that photographs of them. It is also an company confirmed that the freedom of expression as are offence to distribute or advertise construction of the scene involved prescribed by law and are necessary indecent images. The BBFC will trained animals and a puppet when in a democratic society for the refuse to classify works that contain physical contact was required and protection of health and morals or the indecent images of children (those the episode was classified uncut. prevention of crime and disorder. If under 18). This can often be a the BBFC does intervene with a work difficult decision to make, especially The Criminal Justice and Immigration the intervention must be since the definition of the term Act 2008 is relevant to the BBFC’s proportionate to the breach ‘indecent’ is wide and open to work. A key feature of this legislation concerned. various interpretations. The BBFC has is the offence of the possession of sought legal advice on the meaning extreme pornography. Material In refusing to classify the feature of this term and returns to lawyers classified by the BBFC under the VRA Hate Crime , the BBFC gave serious where necessary on a case-by-case is excluded from the definition of consideration to the requirements of basis. The BBFC also seeks proof of extreme pornography. In order for a the HRA before reaching its decision. age for younger looking performers work to be in breach of this In this, as in all cases, the application in pornographic works. legislation it must be pornographic of the HRA remains at the forefront of (produced solely or principally for the BBFC’s thinking when classifying The Coroners and Justice Act 2009 the purpose of sexual arousal), be material. introduced an offence of possessing grossly offensive, disgusting or a ‘prohibited image of a child’. Under otherwise of an obscene character The Video Recordings Act 1984 this legislation a prohibited image of and, in an explicit and realistic way, (VRA) is the legislation that a child covers non-photographic portray either an act which threatens underpins the supply and pornographic images of child abuse a person’s life; an act which results, classification of age-rated audiovisual which must portray any of a specific or is likely to result, in serious injury works in the United Kingdom. It is a range of acts. It strengthens the law to a person’s anus, breasts or piece of legislation that features on child pornography. genitals; an act which involves sexual prominently in the BBFC’s interference with a human corpse; or deliberations. The Cinematograph Films (Animals) a person performing an act of Act 1937 prohibits the exhibition of a intercourse or oral sex with an animal Apart from setting out the film if any scene within it has been (whether dead or alive). Cartoon requirement to have works classified, ‘organised or directed’ in such a way images are not caught by this Act. the VRA also requires the BBFC to as to involve the cruel infliction of pay special regard to material that pain or terror, or cruel goading to could be said to cause harm to its fury of any live animal. The word potential audience. It goes on to ‘animal’ is defined as any domestic provide a list of subjects which the animal (tame or sufficiently tamed to BBFC must consider. Those subjects serve some purpose for the use of are: criminal, violent or horrific man) or any vertebrate which is in behaviour, illegal drugs and human captivity or confinement. It is the sexual activity. BBFC’s policy to apply the Act equally to films and DVD The application of the Obscene submissions. Publications Acts (OPA) of 1959 and 1964 tends to be limited to the The Telugu language drama BBFC’s work with pornography. If a Srimanthudu required cuts to the work is deemed likely to be obscene sight of two roosters in a cockfighting under the current interpretation of scene. The BBFC sought assurances the OPA, the BBFC is required to and the distributor provided intervene. A work will be considered documentation from the Animal obscene if it has a tendency to Welfare Board of India. While this deprave and corrupt a significant suggested the animals were not proportion of the audience likely to injured in the filming of the scene, the see it. In 2015 a number of works action nonetheless involved the required cuts to remove material that animals in ‘cruel goading to fury’. was deemed likely to be obscene Consequently, cuts were required

43 Statistics

44 Statistics

45 Video Appeals Committee

During 2015 there were no appeals Members Salman Momen: Head of Interactive to the Video Appeals Committee Media Group, IBM. Former Head of (VAC). The VAC is an independent Athene Heynes: Chairman of the the Media Industry Sector at body constituted under Section 4(3) NHS Disciplinary Panel. Chairman of Capgemini and former Project of the Video Recordings Act 1984 to both the Disciplinary Committee and Director of the BBC. hear appeals from submitting the Competency Scheme, of the companies against BBFC decisions Chartered Institute of Public Finance Valerie Owen, OBE : Managing they consider stricter than and Accountancy. Qualified Mediator Director, Le Vaillant Owen. Former warranted. in alternative dispute resolution. Managing Director of London First and Director of Jones Lang LaSalle. At the end of 2015 the full Judy Clements: Former Director of Non-Executive Director of the Dover membership of the VAC was as the Independent Police Complaints Harbour Board, Church Buildings follows: Commission. Now Adjudicator for Council and East Kent Hospitals HM Revenue and Customs. University Foundation NHS Trust. Video Appeals Committee Chair Professor Andrew Burrows QC, Clare Dodgson: Former Chief Professor Samuel Stein: NHS FBA: Professor of the Law of England Executive of the Legal Services Consultant Psychiatrist in Child, at the University of Oxford and a Commission. Now an External Adolescent and Family Psychiatry, Fellow of All Souls College. Barrister Reviewer for the Parliament and Bedfordshire. Qualified Family at Fountain Court Chambers, London Health Services Ombudsmen and Mediator. and a part-time judge. Public Appointments Ambassador for the Government Equalities Office.

Consultative Council

The Consultative Council is the audience expectation at 15, and had developing sexuality and her mother BBFC's chief stakeholder body. Its greater appeal to adult viewers. who is undergoing gender transition. members include representatives Council members agreed that the from the film and video industry, local The Consultative Council agreed film discreetly handled the depiction authorities, other media regulators, with the BBFC's 18 classification of of teenage characters recording their enforcement agencies and parenting the film. sexual experiences, with sufficient and family groups. The Council is an focus on the potential legal and social independent source of expert advice In June, the Council viewed the film A ramifications of their actions for the and the meetings are an opportunity Little Chaos (12A). The film contains film to be classified 15. Some to examine industry, legislative and two scenes of moderate sex, one of members compared the film to media policy developments. which depicts very brief thrusting Diary of a Teenage Girl (18), but between a man and a woman who considered the depiction of sex in 52 During 2015, the Council contributed are both clothed, while the other is a Tuesdays to be more visually to discussions in relation to the visually discreet sequence that discreet. Members noted that the sex BBFC's research into 'glamour' largely lingers over a woman's face scenes featured two teenagers rather material, the deregulation of cinema rather than displaying nudity or than a teenager and an adult, and did advertising, and the BBFC's sexual detail. The Council noted that, not feature any use of drugs during continued work to classify online while the sequences established sex. music videos. sexual activity, neither exceeded BBFC Guidelines at 12A, and to raise The Consultative Council agreed In February, the Council discussed the category to 15 may have given with the BBFC's 15 classification of the film The Duke of Burgundy (18). audiences an unrealistic expectation the film. Council members agreed that some of the film's content, thus deterring material in the film went beyond the some viewers. We would like to thank the members BBFC's 15 category in its portrayal of of the Consultative Council for their a relationship involving sexual The Consultative Council agreed input into discussions on BBFC fetishes, including scenes of implied with the BBFC's 12A classification of Classification and associated matters. urolagnia and breath restriction. the film. We would like to give special thanks Members noted that the film's to Detective Superintendent David treatment of this material was sensitive In October, Council members Gray, Metropolitan Police; Pete and visually discreet, but that the discussed the film 52 Tuesdays (15), Johnson, Chief Executive, The 1 Diary of a strongest sex references and focus on about the relationship between a Authority for Television On Demand; Teenage Girl a BDSM relationship could confound teenage girl who is exploring her and Councillor Tommy Williams, ‘18’

46 Consultative Council

Renfrewshire Council, who all stepped down from the Consultative Council in 2015. During 2015 we welcomed Detective Superintendent Wendy Morgan, MBA, Metropolitan Police; and Melissa Dring, Director of Policy, Chartered Trading Standards Institute.

Membership of the Council in 2015 1 Reg Bailey Independent Reviewer of the Commercialisation and Sexualisation of Childhood

Liz Bales Chief Executive, British Video Association Councillor Mervyn Jones Members who stepped down in Northern Ireland Local Government 2015 Mark Batey Association Chief Executive, Det Superintendent David Gray Film Distributors’ Association Hamish MacLeod Metropolitan Police Chairman, Mobile Broadband Group Kim Bayley Laurie Hall Chief Executive, Alison Marsden Director of Business Affairs, Entertainment Retailers Association Head of Complaints, Licensing and Video Standards Council Enforcement, Ofcom Leanne Buckle Pete Johnson Senior Editorial Complaints Adviser, Det Superintendent Chief Executive, The Authority for BBC Trust Wendy Morgan, MBA Television On Demand Metropolitan Police Phil Clapp Councillor Tommy Williams Chief Executive, Jo Poots Renfrewshire Council Cinema Exhibitors’ Association Head of Operations (Complaints and Investigations), Advertising Standards Patrick Down Authority New members of the Council Criminal Law and Licensing Division, Scottish Government Justine Roberts Detective Superintendent Founder & CEO, Mumsnet & Gransnet Wendy Morgan, MBA Melissa Dring Metropolitan Police Director of Policy, Chartered Trading Natalie Rose Standards Institute Senior Editorial Strategy Adviser, Melissa Dring BBC Trust Director of Policy, Chartered Trading Alison Edwards Standards Institute A leading expert in legal issues Manjinder Shergill relating to the provision of film and East Dunbartonshire Council DVD works under the Video Recordings Act There is currently no representative from the Welsh Local Government Susie Hargreaves Association on the Council. Chief Executive, Internet Watch Foundation

47 Advisory Panel on Children’s Viewing

The Advisory Panel on Children's members also considered the Guns at 18, although some members Viewing (APCV) provides the BBFC depiction of incest, which some films suggested the film could be with access to a wide range of skills have confronted at 12A, but in this classified 15. and expertise connected with child context concluded was more welfare and development. The views appropriate at 15. In November, the Panel viewed of the Panel feed into the Chemsex (18), a documentary about development of BBFC policy. The Panel agreed with the BBFC's 15 the amalgamation of drugs and sex classification. within communities in London. The During 2015, the APCV contributed Panel noted that the film contains to discussions on both the In July, the Panel watched Mean scenes of strong unsimulated sex and amendment to the Video Recordings Guns (18), an action thriller about a features frequent references to the Act, whereby certain material that crime syndicate who force their effects of drug use on sexual would be classified 12 or higher is enemies to fight each other for experiences. Members agreed with no longer exempt from classification, money. The film was classified 18 in a the BBFC's 18 classification, although and the BBFC and music industry version, pre-cut by its distributor some argued that the film had pilot scheme to classify online music upon its original release in 1997, but important messages for younger videos. The Panel also discussed the was submitted for video release in an teenagers. The Panel acknowledged BBFC's ongoing research projects, extended cut in 2015, including a the film's educative value in including how depictions of sequence juxtaposing violent exploring the issue of HIV and AIDS. discrimination affect classification. imagery with that of a child. They also noted that it is sympathetic Members noted how the film to its subjects and highlighted their In March the Panel viewed The contains frequent scenes of strong loneliness and the dangers inherent Falling (15), a drama about an violence, including gunfights and in 'chemsex', and in general outbreak of mass hysteria in an all- fistfights. The Panel perceived that presented an aversive portrait of the girls school. The Panel noted that the there were no issues of potential activity. film contained scenes of strong sex, harm in the film's depiction of a child including one of incestuous sex. among the violent imagery, and that The Panel agreed with the BBFC's 18 Members discussed the the dated style, unrealistic storyline classification. appropriateness of these sex scenes and largely bloodless depiction of at the 15 category: some felt violence lessened the impact of the We would like to thank the members sympathy for a 12A classification, but violent scenes. of the APCV for their input into BBFC overall the Panel considered that the Classification issues and for their detail in the scenes were more The majority of the Panel supported continued expert advice with suitable at the 15 category. Panel the BBFC's classification of Mean regards to child protection.

Membership of the Panel in 2015

Margo Boye-Anawomah Andrew Mackereth Childcare barrister and family judge Principal of The Parker Academy in Daventry John Carr, OBE Expert on child protection in relation Annie Mullins, OBE to new media Director of Ask.fm Europe Trust & Safety and Co-founder of the Institute Naomi Eisenstadt for Digital Well-Being Senior Research Fellow, Oxford University Department of Education Martyn Percy Dean of Christ Church, Oxford Joe Godwin Director of the BBC Academy and Professor Ann Phoenix BBC Birmingham Co-Director of the Thomas Coram Research Unit Professor Charlie Lewis Professor of Family and Honor Rhodes, OBE Developmental Psychology, Director of Strategic Development, Lancaster University Tavistock Centre for Couple Relationships (TCCR)

48 Business review 2015

The principal officers of Council of Management Members the British Board of Film Classification in 2015 Chairman Sonita Alleyne Graham Lee Maggie Carver President Joanne Shaw Patrick Swaffer Vice Chairman Alison Hastings Steve Jags Gerard Lemos Vice Presidents Alison Hastings Treasurer Auditors Gerard Lemos Jon Teckman Wilkins Kennedy LLP Director Chartered Accountants David Cooke Bridge House London Bridge Assistant Director, Policy and Public London SE1 9QR Affairs David Austin Solicitors

Chief Operating Officer Goodman Derrick LLP Dave Barrett 10 St Bride Street London EC4 4AD Head of Technology Dave Harding Bankers

Head of Finance and Personnel Barclays Bank PLC Imtiaz Osman 27 Soho Square London W1D 3QR Senior Examiners Craig Lapper Registered Office Murray Perkins 3 Soho Square Head of Business Services London W1D 3HD Tom Cairns Registered number Head of Communications Catherine Anderson 117289

Head of Education Lucy Brett

49 Report of the Directors for the year ended 31 December 2015

The Directors present their report Online submissions continue to rise The Board has reviewed its funding with the financial statements of the as anticipated, but the current rate of and liquidity positions and current Company for the year ended 31 increase is not expected to offset performance forecasts which December 2015. further declines in DVD income. indicate that a trading surplus is likely to be generated in 2016. It Principal activities Turnaround times for DVD works to therefore considers that the company The company, which is limited by be processed were maintained at 6 has adequate resources to continue guarantee, is responsible for the days. This demonstrated an its operations for the foreseeable classification of cinema films on efficiency improvement of 31% over behalf of local authorities and, in the last five years. future. For this reason, the Board accordance with the terms of the continues to adopt the ‘going Video Recordings Act 1984, for the The increase in film submissions concern’ basis in preparing the classification of video works. It also over the past four years has financial statements. classifies under voluntary self- continued with a further rise of 7% regulatory services, video content last year to £1.14m (2014: £1.06m). It Financial instruments distributed over the internet and is anticipated that the current level of The company's financial instruments commercial and internet content submissions will continue to be at the balance sheet date comprised distributed via the UK's mobile maintained bank loans, investments, cash and networks. Its revenue is derived liquid resources. The company has principally from fees charged to Operating costs have been reduced various other financial instruments distributors for the classification of by a further 2% to £4.4m (2014: such as trade debtors and trade their product. £4.5m). This is mainly due to savings creditors that arise directly from its in staffing costs and website operations. Review of the business operating costs. The Board continues The BBFC continues to focus on to monitor and review its operational providing trusted classification for procedures with the aim of providing Interest rate risk film and video and online services. the best and most cost effective The company has no interest rate services to its customers. exposure as all the long-term debt is The results for the last financial year at a fixed rate. are shown in the annexed financial The BBFC continues to work in statements. The key financial partnership with different industry Liquidity risk indicators, used by management to sectors (for example, VoD platforms, The company has significant net cash monitor performance and to assess mobile network operators, balances as at the balance sheet risks, continue to be sales volumes, broadcasters) to develop for the date. turnaround times, operating costs voluntary space consistent, and level of cash generated from transparent, best-practice self- Foreign currency risk operations. regulatory services which apply The company's risk to foreign trusted BBFC standards. Although exchange transactions does not arise Turnover for the year increased by current levels of income for such as all the company's financial 2% to £5.5m (2014: £5.4m). This was services are low at 8% of total fee instruments are denominated in mainly due to an increase in fee income, this represents an increase income from films and the expansion of 38% on the previous year and the sterling. of the non-statutory works. Income Board expects demand for this line of from DVD classification, which forms service to rise significantly in future. Borrowing facilities 68% of total fee income (2014: 72%) As at 31st December 2015, the declined by a further 3% during the The Board also continues to review company had undrawn committed year. This decline will continue as the its investment policies. borrowing facilities of £536,000 demand for online product increases. (2014: £536,000)

50 Report of the Directors for the year ended 31 December 2015

Directors Generally Accepted Accounting Fixed assets The directors of the company are the Practice), including Financial Information relating to changes in the members of the Council of Reporting Standard 102 ‘The tangible fixed assets is given in note Management together with the Financial Reporting Standard 11 to the financial statements. President, Vice Presidents and the applicable in the UK and Republic of Secretary. Ireland'. Under company law the Disclosure of information to directors must not approve the auditor The directors who served during the financial statements unless satisfied Each of the persons who are year were: that they give a true and fair view of directors at the time when this the state of affairs of the company Directors' Report is approved has Patrick Swaffer and of the surplus or deficit of the confirmed that: Alison Hastings company for that period. In Gerard Lemos preparing these financial statements, ● Graham Lee the directors are required to: so far as that directors is aware, Maggie Carver there is no relevant audit Jon Teckman ● select suitable accounting policies information of which the Sonita Alleyne and then apply them consistently; company's auditor is unaware, and Joanne Shaw ● make judgements and estimates ● that directors has taken all the (resigned 22 April 2015) that are reasonable and prudent; steps that ought to have been David Cooke and taken as a director in order to be (resigned 10 March 2016) ● prepare the financial statements aware of any relevant audit Steve Jags on the going concern basis unless information and to establish that it is inappropriate to presume that the company's auditor is aware of Statement of Directors’ the company will continue in that information. Responsibilities business. The directors are responsible for Auditors preparing the Strategic Report, the Environment, Health and Safety The auditor, Grant Thornton UK LLP, Directors' Report and the financial The company is firmly committed to will be proposed for reappointment statements in accordance with managing its activities so as to in accordance with section 485 of the applicable law and regulations. provide the highest level of Companies Act 2006. protection to the environment and to Company law requires the directors safeguard the health and safety of its to prepare financial statements for employees, customers and the This report was approved by the each financial year. Under that law community. board and signed on its behalf. the directors have elected to prepare the financial statements in Results accordance with applicable law and The surplus for the year, after David John Robert Austin United Kingdom Accounting taxation, amounted to £1,247,453 Secretary Standards (United Kingdom (2014: £836,229). 20 April 2016

51 Independent auditors' report to the Members of the British Board of Film Classification

We have audited the financial preparation of the financial Opinion on other matters statements of the British Board of Film statements and for being satisfied prescribed by the Companies Classification for the year ended 31 that they give a true and fair view. Act 2006 December 2015, which comprise the Our responsibility is to audit and In our opinion the information given Statement of Comprehensive express an opinion on the financial in the Strategic Report and the Income, the Statement of Financial statements in accordance with Directors' Report for the financial Position, the Statement of Cash Flows, applicable law and International year for which the financial the Statement of Changes in Equity Standards on Auditing (UK and statements are prepared is consistent and the related notes. The financial Ireland). Those standards require us with the financial statements. reporting framework that has been to comply with the Auditing Practices applied in their preparation is Board's Ethical Standards for Matters on which we are applicable law and United Kingdom Auditors. required to report by exception Accounting Standards (United We have nothing to report in respect Kingdom Generally Accepted Scope of the audit of the financial of the following matters where the Accounting Practice), including FRS statements Companies Act 2006 requires us to 102 'The Financial Reporting A description of the scope of an audit report to you if, in our opinion: Standard applicable in the of financial statements is provided on • adequate accounting records UK and Republic of Ireland'. the Financial Reporting Council's have not been kept, or returns website at adequate for our audit have not This report is made solely to the www.frc.org.uk/auditscopeukprivate. been received from branches not company's members, as a body, in visited by us; or accordance with Chapter 3 of Part 16 Opinion on financial statements • the financial statements are not in of the Companies Act 2006. Our In our opinion the financial agreement with the accounting audit work has been undertaken so statements: records and returns; or that we might state to the company's • certain disclosures of directors’ members those matters we are • give a true and fair view of the remuneration specified by law are required to state to them in an state of the company's affairs as at not made; or Auditor's Report and for no other 31 December 2015 and of its • we have not received all the purpose. To the fullest extent surplus for the year then ended; information and explanations we permitted by law, we do not accept • have been properly prepared in require for our audit. or assume responsibility to anyone accordance with United Kingdom other than the company and the Generally Accepted Accounting company's members as a body, for Practice; Tom Davies (Senior Statutory our audit work, for this report, or for and Auditor) the opinions we have formed. • have been prepared in for and on behalf of accordance with the requirements Grant Thornton UK LLP Respective responsibilities of of the Companies Act 2006. Statutory Auditor directors and auditors Chartered Accountants As explained more fully in the London directors' responsibilities statement, the directors are responsible for the 20 April 2016

52 Comprehensive Income for the year ended 31 December 2015

Note 2015 2014

££

Turnover 3 5,472,923 5,370,318

Operating costs (4,363,395) (4,535,472)

–––––––– ––––––––

Gross surplus 1,109,528 834,846

Other operating income 4 107,813 87,298

–––––––– ––––––––

Operating surplus/(deficit) 6 936,476 (28,563)

Operating surplus 1,217,341 922,144

Gain on financial assets at fair value 172,150 (66,394)

Interest receivable and similar income 5 146,460 126,668

Interest payable and similar charges 6 (43,993) (57,812)

–––––––– ––––––––

Surplus on ordinary activities before taxation 1,491,958 924,606

Tax on surplus/ (loss) on ordinary activities 10 (244,505) (88,377)

–––––––– ––––––––

Surplus for the financial year 1,247,453 836,229

–––––––– ––––––––

Total comprehensive income for the year 1,247,453 836,229

–––––––– ––––––––

There were no recognised gains and losses for 2015 or 2014 other than those included in the income statement.

The notes on pages 59 to 67 form part of these financial statements.

53 Statement of Financial Position as at 31 December 2015

Note 2015 2014

££

Fixed assets

Tangible assets 11 3,033,561 3,086,405

Investments 13 6,108,886 5,065,851

Investment property 12 3,589,335 3,589,335

–––––––– ––––––––

12,731,782 11,741,591

Current assets

Debtors: amounts falling due within one year 14 749,554 543,610

Cash at bank and in hand 15 2,156,712 2,276,326 –––––––– ––––––––

2,906,266 2,819,936

Creditors: amounts falling due within one year 16 (1,600,328) (1,488,065) –––––––– ––––––––

Net current assets 1,305,938 1,331,871

–––––––– ––––––––

Total assets less current liabilities 14,037,720 13,073,462

Creditors: amounts falling due after more than one year 17 (407,773) (663,659)

Provisions for liabilities

Deferred tax (194,346) (221,655) –––––––– ––––––––

(194,346) (221,655)

–––––––– ––––––––

Net assets 13,435,601 12,188,148

–––––––– ––––––––

Capital and reserves

Profit and loss account 13,435,601 12,188,148

–––––––– ––––––––

13,435,601 12,188,148

–––––––– ––––––––

The financial statements were approved and authorised for issue by the board and were signed on its behalf on 20 April 2016.

K G Lee – Chairman

J S P Teckman – Treasurer

The notes on pages 59 to 67 form part of these financial statements.

54 Statement of Changes in Equity as at 31 December 2015

Retained earnings Total equity

££

At 1 January 2015 12,188,148 12,188,148

Comprehensive income for the year

Surplus for the year 1,247,453 1,247,453

–––––––– ––––––––

Other comprehensive income for the year - -

–––––––– ––––––––

Total comprehensive income for the year 1,247,453 1,247,453

–––––––– ––––––––

Total transactions with owners - -

–––––––– ––––––––

At 31 December 2015 13,435,601 13,435,601

–––––––– ––––––––

Statement of Changes in Equity as at 31 December 2014

Retained earnings Total equity

££

At 1 January 2014 11,351,919 11,351,919

Comprehensive income for the year

Surplus for the year 1836,229 836,229

–––––––– ––––––––

Other comprehensive income for the year - -

–––––––– ––––––––

Total comprehensive income for the year 836,229 836,229

–––––––– ––––––––

Total transactions with owners - -

–––––––– ––––––––

At 31 December 2014 12,188,148 12,188,148

–––––––– ––––––––

The notes on pages 59 to 67 form part of these financial statements.

55 Statement of Cash Flows for the year ended 31 December 2015

2015 2014

££

Cash flows from operating activities

Profit for the financial year 1,247,453 836,229

–––––––– ––––––––

1,247,453 836,229

Adjustments for:

Depreciation of tangibles 263,377 98,024

Interest paid 43,993 57,812

Interest received (146,460) (126,668)

Taxation 244,505 88,377

Increase in debtors (158,196) 194,705

Increase in creditors 25,131 36,018

Corporation tax (159,916) (143,107)

–––––––– –––––––– 1,359,887 1,041,390 –––––––– –––––––– Net cash generated from operating activities Cash flows from investing activities Purchase of tangible fixed assets (210,532) (117,890) Purchase of listed investments (3,920,000) (2,705,824) Sale of listed investments 2,804,450 632,063 Interest received 8,572 6,060 Dividends received 137,888 120,408 –––––––– –––––––– (1,179,622) (2,065,183) –––––––– –––––––– Net cash from investing activities Cash flows from financing activities Repayment of loans (255,886) (242,029) Interest paid (43,993) (57,812) –––––––– –––––––– Net cash used in financing activities (299,879) (299,841) –––––––– –––––––– Net increase / (decrease) in cash and cash equivalents (119,614) (1,323,634) Cash and cash equivalents at beginning of year 2,276,326 3,599,960 –––––––– –––––––– Cash and cash equivalents at the end of year 2,156,712 2,276,326 –––––––– –––––––– Cash at bank and in hand 2,156,712 2,276,326 –––––––– –––––––– 2,156,712 2,276,326 –––––––– ––––––––

The notes on pages 59 to 67 form part of these financial statements.

56 Notes to the Financial Statements for the year ended 31 December 2015

1 Accounting policies

1.1 Basis of preparation of financial statements The financial statements have been prepared under the historical cost convention and in accordance with Financial Reporting Standard 102, the Financial Reporting Standard applicable in the United Kingdom and the Republic of Ireland and the Companies Act 2006.

The preparation of financial statements in compliance with FRS 102 requires the use of certain critical accounting estimates. It also requires management to exercise judgment in applying the company's accounting policies (see note 2).

The following principal accounting policies have been applied:

1.2 Revenue Revenue is recognised to the extent that it is probable that the economic benefits will flow to the company and the revenue can be reliably measured. Revenue is measured as the fair value of the consideration received or receivable, excluding discounts, rebates, value added tax and other sales taxes.

1.3 Tangible fixed assets Tangible fixed assets are stated at orginal cost. Depreciation is provided at rates calculated to write off the cost, less estimated residual value of each asset on a straight line basis over its estimated useful life, as follows:

Depreciation is provided on the following bases:

Moveable furniture and equipment 25% per annum Computer equipment 33.33% per annum

1.4 Investment property Investment property is carried at fair value and derived from the current market rents and investment property yields for comparable real estate, adjusted if necessary for any difference in the nature, location or condition of the specific asset. No depreciation is provided. Changes in fair value are recognised in the Statement of Comprehensive Income.

1.5 Valuation of investments Investments in listed company shares are remeasured to market value at each Statement of Financial Position date. Gains and losses on remeasurement are recognised in the Statement of Comprehensive Income for the period.

1.6 Debtors Short-term debtors are measured at transaction price, less any impairment.

1.7 Cash and cash equivalents Cash is represented by cash in hand and deposits with financial institutions repayable without penalty on notice of not more than 24 hours. Cash equivalents are highly liquid investments that mature in no more than three months from the date of acquisition and that are readily convertible to known amounts of cash with insignificant risk of change in value.

1.8 Creditors Short-term creditors are measured at the transaction price. Other financial liabilities, including bank loans, are measured initially at fair value, net of transaction costs, and are measured subsequently at amortised cost using the effective interest method.

1.9 Pensions

Defined contribution pension plan

The company operates a defined contribution plan for its employees. A defined contribution plan is a pension plan under which the company pays fixed contributions into a separate entity. Once the contributions have been paid the company has no further payments obligations.

The contributions are recognised as an expense in the Statement of Comprehensive Income when they fall due. Amounts not paid are shown in accruals as a liability in the Statement of Financial Position. The assets of the plan are held separately from the company in independently administered funds.

57 Notes to the Financial Statements for the year ended 31 December 2015

1.10 Holiday pay accrual A liability is recognised to the extent of any unused holiday pay entitlement which is accrued at the Statement of Financial Position date and carried forward to future periods. This is measured at the undiscounted salary cost of the future holiday entitlement so accrued at the Statement of Financial Position date.

1.11 Interest income Interest income is recognised in the Income Statement using the effective interest method.

1.12 Provisions for Liabilities Provisions are made where an event has taken place that gives the company a legal or constructive obligation that probably requires settlement by a transfer of economic benefit, and a reliable estimate can be made of the amount of the obligation.

Provisions are charged as an expense to the Income Statement in the year that the company becomes aware of the obligation, and are measured at the best estimate at the Statement of Financial Position date of the expenditure required to settle the obligation, taking into account relevant risks and uncertainties.

When payments are eventually made, they are charged to the provision carried in the Statement of Financial Position.

1.13 Current and deferred taxation The tax expense for the year comprises current and deferred tax. Tax is recognised in the Statement of Comprehensive Income, except that a change attributable to an item of income and expense recognised as other comprehensive income or to an item recognised directly in equity is also recognised in other comprehensive income or directly in equity respectively.

The current income tax charge is calculated on the basis of tax rates and laws that have been enacted or substantively enacted by the reporting date in the countries where the company operates and generates income.

Deferred balances are recognised in respect of all timing differences that have originated but not reversed by the Statement of Financial Position date, except that:

• The recognition of deferred tax assets is limited to the extent that it is probable that they will be recovered against the reversal of deferred tax liabilities or other future taxable profits; and

• Any deferred tax balances are reversed if and when all conditions for retaining associated tax allowances have been met.

2 Judgements in applying accounting policies and key sources of estimation uncertainty Management consider the only key judgement to be in relation to the market value of property.

3 Turnover The turnover and operating surplus are attributable to the principal activity of the company. The entire turnover in both periods is attributable to geographical areas within the United Kingdom.

58 Notes to the Financial Statements for the year ended 31 December 2015

2015 2014

££

4 Other operating income

Net rents receivable 107,813 87,298

–––––––– –––––––– 107,813 87,298 –––––––– ––––––––

5 Interest receivable and similar income

Income from fixed asset investments 137,888 120,408

Bank deposit interest 8,572 6,260

–––––––– –––––––– 146,460 126,668 –––––––– ––––––––

6 Interest payable and similar charges

Interest on loan repayable 43,993 57,812

–––––––– –––––––– 43,993 57,812 –––––––– ––––––––

7 Employees

Staff costs, including directors' remuneration, were as follows:

Wages and salaries 2,470,545 2,682,581

Social security costs 282,697 285,052

Cost of defined contribution scheme 175,034 197,365

–––––––– –––––––– 2,928,276 3,164,998 –––––––– ––––––––

The average monthly number of employees, including the directors, during the year was as follows:

2015 2014

No. No.

Non-executive directors 5 6

Presidential team 3 3

Management 5 5

Administration 9 6

Operations 33 36

–––––––– –––––––– 55 56 –––––––– ––––––––

59 Notes to the Financial Statements for the year ended 31 December 2015

2015 2014

££

8 Directors' remuneration

Directors' emoluments 355,382 293,279

Company contributions to defined contribution pension schemes 11,092 34,460

–––––––– –––––––– 366,474 327,739 –––––––– ––––––––

During the year retirement benefits were accruing to 5 directors (2014 – 5) in respect of defined contribution pension schemes.

The highest paid director received remuneration of £183,495 (2014: £210,142).

9 Operating profit

The operating surplus is stated after charging:

Directors' remuneration 366,474 327,739

Depreciation of tangible fixed assets 263,376 114,371

Impairment of tangible fixed assets - 6,008

Audit remuneration – audit 16,000 18,000

Audit remuneration – non audit 14,500 15,000

Taxation compliance services 3,500 - –––––––– ––––––––

10 Taxation

Corporation tax

Current tax on surplus for the year 246,290 162,000

Adjustments in respect of previous periods 755 -

–––––––– –––––––– 247,045 162,000 –––––––– –––––––– –––––––– ––––––––

Total current tax 247,045 162,000 –––––––– ––––––––

Deferred tax

Origination and reversal of timing differences 1,240 (47,482)

Adjustments in respect of prior periods - (29,921)

Adjustments in respect of FRS 102 (3,780) 3,780

60 Notes to the Financial Statements for the year ended 31 December 2015

2015 2014

££

10 Taxation (continued)

–––––––– –––––––– Total deferred tax (2,540) (73,623) –––––––– –––––––– –––––––– –––––––– Taxation on profit on ordinary activities 244,505 88,377 –––––––– –––––––– Factors affecting tax charge for the year

The tax assessed for the year is lower than (2014: lower than) the standard rate of corporation tax in the UK of 20.25% (2014: 21.5%). The differences are explained below:

Profit on ordinary activities before tax 1,491,958 924,606

Profit on ordinary activities multiplied by standard rate of corporation tax in the UK of 20.25% (2014: 21.5%) 302,070 198,727 –––––––– ––––––––

Effects of:

Expenses not deductible for tax purposes 32,905 11,404

Marginal relief (174) (2,764)

Adjustments to tax charge in respect of previous periods 755 (29,921)

Non-taxable dividend income (27,917) (25,422)

Non-taxable income (63,478) (19,397)

Other timing differences 15,090 (38,423)

Differences in tax rates (14,746) (5,827)

–––––––– –––––––– Total tax charge for the year 244,505 88,377 –––––––– ––––––––

61 Notes to the Financial Statements for the year ended 31 December 2015

11 Tangible fixed assets Long Long leasehold Fixtures leasehold property and property expenditure fittings Total

£ £ £ £ Cost or valuation At 1 January 2015 3,137,264 158,209 4,186,563 7,482,036 Additions - 141,613 68,919 210,532 Disposals - - (485,831) (485,831) –––––––– –––––––– –––––––– –––––––– At 31 December 2015 3,137,264 299,822 3,769,651 7,206,737 –––––––– –––––––– –––––––– –––––––– Depreciation At 1 January 2015 292,812 158,209 3,944,610 4,395,631 Charge for the year 25,097 141,613 96,666 263,376 On disposals - - (485,831) (485,831) –––––––– –––––––– –––––––– –––––––– At 31 December 2015 317,909 299,822 3,555,445 4,173,176 –––––––– –––––––– –––––––– –––––––– Net book value At 31 December 2015 2,819,355 - 214,206 3,033,561 –––––––– –––––––– –––––––– –––––––– At 31 December 2014 2,844,452 - 241,953 3,086,405 –––––––– –––––––– –––––––– ––––––––

12 Investment property Long-term leasehold investment property £ Valuation At 1 January 2015 3,589,335 –––––––– At 31 December 2015 3,589,335 –––––––– The 2015 valuations were made by Reid Rose Gregory, a firm of chartered surveyors, on an open market value for existing use basis.

13 Fixed asset investments Listed investments £ Cost or valuation At 1 January 2015 5,065,851 Additions 3,920,000 Disposals (2,804,451) Revaluations (72,513) –––––––– At 31 December 2015 6,108,887 –––––––– –––––––– At 31 December 2015 6,108,887 –––––––– At 31 December 2014 5,065,851 ––––––––

62 Notes to the Financial Statements for the year ended 31 December 2015

2015 2014

££

14 Debtors

Trade debtors 373,996 279,301

Other debtors 194,144 84,209

Prepayments and accrued income 118,444 92,363

Deferred taxation 62,970 87,737

–––––––– –––––––– 749,554 543,610 –––––––– ––––––––

15 Cash and cash equivalents

Cash at bank and in hand 2,156,712 2,276,326

–––––––– –––––––– 2,156,712 2,276,326 –––––––– ––––––––

16 Creditors: Amounts falling due within one year

Bank loans 255,855 255,855

Trade creditors 32,745 16,831

Corporation tax 256,059 168,930

Taxation and social security 225,550 197,520

Other creditors and accruals 830,119 848,929

–––––––– –––––––– 1,600,328 1,488,065 –––––––– ––––––––

17 Creditors: Amounts falling due after more than one year

Bank loans 407,773 663,659

–––––––– –––––––– 407,773 663,659 –––––––– ––––––––

63 Notes to the Financial Statements for the year ended 31 December 2015

2015 2014

££

18 Bank loans

Analysis of the maturity of loans is given below:

Amounts falling due within one year

Bank loans 255,855 255,855

–––––––– –––––––– 255,855 255,855 –––––––– ––––––––

Amounts falling due 1-2 years

Bank loans 255,855 255,885

–––––––– –––––––– 255,855 255,885 –––––––– ––––––––

Amounts falling due 2-5 years

Bank loans 151,919 407,774

–––––––– –––––––– 151,919 407,774 –––––––– ––––––––

The bank loan, which is secured by a fixed legal charge over the long leasehold property, bears an annual fixed rate of interest of 5.64% and is repayable in quarterly instalments. The final instalment is due for payment on 6th May 2018.

19 Deferred taxation

Deferred tax

At 1 January 2015 (133,916)

Charged to the profit or loss 2,540

–––––––– At 31 December 2015 (131,376) ––––––––

64 Notes to the Financial Statements for the year ended 31 December 2015

2015 2014

££

The provision for deferred taxation is made up as follows:

Prior year deferred tax adjustment - (29,922)

Current year charge at 18% (PY: 20%) (2,540) (43,702) –––––––– –––––––– (2,540) (73,624) Comprising:

Asset 62,970 87,737

Liability (194,346) (221,655)

–––––––– –––––––– (131,376) (133,918) –––––––– ––––––––

20 Pension commitments

The company operates a defined contribution scheme to provide retirement benefits for staff. The total pension charge for the year was £175,034 (2014: £197,365).

21 Operating lease commitments

At 31 December 2015 the company had future minimum lease payments under non-cancellable operating leases as follows:

2015 2014

££

Operating leases which expire:

Not later than 1 year 2,793 2,946

Later than 1 year and not later than 5 years 1,382 1,382

Later than 5 years 37,500 37,500

–––––––– –––––––– 41,675 41,828 –––––––– ––––––––

22 Company status

The company is limited by guarantee and is under the control of its members. The liability of the members is limited to £1 each, in the event of the company being wound up.

23 Related party transactions

There were no transactions with related parties during the year (2014: £nil)

65 Notes to the Financial Statements for the year ended 31 December 2015

24 First time adoption of FRS 102

As previously Effect of FRS 102 As previously Effect of FRS 102 stated transition (as restated) stated transition (as restated) 1 January 1 January 1 January 31 December 31 December 31 December 2014 2014 2014 2014 2014 2014 Note £ £ £ £ £ £ Fixed assets 1,2 4,935,602 4,589,570 9,525,172 4,939,120 6,802,472 11,741,592 Current assets 1,2 6,513,759 (2,384,393) 4,129,366 7,286,602 (4,466,666) 2,819,936 Creditors: amounts falling due within one year 1 (1,264,636) – (1,264,636) (1,457,587) (30,480) (1,488,067) –––––––– –––––––– –––––––– –––––––– –––––––– –––––––– Net current assets 5,249,123 (2,384,393) 2,864,730 5,829,015 (4,497,146) 1,331,869 –––––––– –––––––– –––––––– –––––––– –––––––– –––––––– Total assets less current liabilities 10,184,725 2,205,177 12,389,902 10,768,135 2,305,326 13,073,461 Creditors: amounts falling due after more than one year (919,514) - (919,514) (663,659) - (663,659) Deferred tax liability 4 - (307,656) (307,656) - (221,655) (221,655) –––––––– –––––––– –––––––– –––––––– –––––––– ––––––––

Net assets 9,265,211 1,897,521 11,162,732 10,104,476 2,083,671 12,188,147 –––––––– –––––––– –––––––– –––––––– –––––––– –––––––– Capital and reserves 9,265,211 1,897,521 11,162,732 - 12,188,147 12,188,147 –––––––– –––––––– –––––––– –––––––– –––––––– –––––––– Turnover 5,370,318 - 5,370,318 Operating costs 1,2 (4,521,140) (14,332) (4,535,472) –––––––– –––––––– –––––––– 849,178 (14,332) 834,846 Other operating income 87,298 - 87,298 –––––––– –––––––– –––––––– Operating profit 936,476 (14,332) 922,144 Gain on financial assets at fair value 3 21,151 (87,545) (66,394) Interest receivable and similar income 126,668 - 126,668 Interest payable and similar charges (57,812) - (57,812) Taxation 4 (187,018) 98,641 (88,377) –––––––– –––––––– –––––––– Profit on ordinary activities after taxation and for the financial year 839,465 (3,236) 836,229

66 Notes to the Financial Statements for the year ended 31 December 2015

Explanation of changes to previously reported profit and equity:

1 Holiday Pay Accrual As a result of the requirement to accrue for holiday that was earned but not taken at the date of the statement of financial position, there is a charge of £30,480 to the income statement for the year ended 31 December 2014, recognising the increase in the holiday pay accrual over the year.

2 Investment Property Under FRS 102, investment property has to be recognised at fair value with all changes recorded in the profit and loss account. Under previous UK GAAP, these changes were recorded in the Statement of Total Recognised Gains and Losses or property was held at cost. As at 1st January 2014 and 31st December 2014 the fair value was £3,598,335.

3 Listed Investments Under FRS 102, listed investments have to be held at fair value with all movements recorded in the profit and loss account. Under previous treatment, this balance was held at the lower of cost and net realisable value. The fair value as at 1st January 2014 was £3,058,484 and at 31 December 2014 was £5,065,851.

4 Deferred Tax Under FRS 102, deferred tax is recognised on a timing difference plus approach, whereas previous UK GAAP required a timing difference approach. Consequently deferred tax has been recognised on all fair value remeasurements and on all fair value adjustments arising on business combinations (other than goodwill).

67 1 1 1 11 11 11 1

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