Age rating

Target Audience
Each film produced has to be given an age certificate. This controls what age people have to be to view the film due to certain content.

U Universal –
Suitable for all
It is impossible to predict what
might upset any particular
child. But a ‘U’ film should be
suitable for audiences aged four
years and over. ‘U’ films should
be set within a positive moral
framework and should offer
reassuring counterbalances to
any violence, threat or horror.
If a work is particularly suitable
for a pre-school child to view
alone, this will be indicated in
the Consumer Advice.
Discrimination
No discriminatory language or behaviour unless
clearly disapproved of.
Drugs
No references to illegal drugs or drug misuse unless
they are infrequent and innocuous, or there is a clear
educational purpose or anti-drug message suitable
for young children.
Horror
Scary sequences should be mild, brief and unlikely to
cause undue anxiety to young children. The outcome
should be reassuring.
Imitable behaviour
No potentially dangerous behaviour which young
children are likely to copy. No emphasis on realistic
or easily accessible weapons.
Language
Infrequent use only of very mild bad language.
Nudity
Occasional natural nudity, with no sexual context.
Sex
Mild sexual behaviour (for example, kissing) and
references only (for example, to ‘making love’).
Theme
While problematic themes may be present, their
treatment must be sensitive and appropriate for
young children.
Violence
Mild violence only. Occasional mild threat or
menace only.

PG Parental Guidance –
General viewing, but some
scenes may be unsuitable
for young children
Unaccompanied children of
any age may watch. A ‘PG’
film should not disturb a child
aged around eight or older.
However, parents are advised
to consider whether the content
may upset younger or more
sensitive children.
Discrimination
Discriminatory language or behaviour is unlikely to
be acceptable unless clearly disapproved of or in an
educational or historical context. Discrimination by
a character with which children can readily identify
is unlikely to be acceptable.
Drugs
References to illegal drugs or drug misuse must be
innocuous or carry a suitable anti-drug message.
Horror
Frightening sequences should not be prolonged or
intense. Fantasy settings may be a mitigating factor.
Imitable behaviour
No detail of potentially dangerous behaviour which
young children are likely to copy. No glamorisation
of realistic or easily accessible weapons.
Language
Mild bad language only.
Nudity
Natural nudity, with no sexual context.
Sex
Sexual activity may be implied, but should be
discreet and infrequent. Mild sex references and
innuendo only.
Theme
Where more serious issues are featured (for example,
domestic violence) nothing in their treatment should
condone unacceptable behaviour.
Violence
Moderate violence, without detail, may be allowed,
if justified by its context (for example, history,
comedy or fantasy).

12A/12 –
Discrimination
Discriminatory language or behaviour must not be
endorsed by the work as a whole. Aggressive
discriminatory language or behavior is unlikely
to be acceptable unless clearly condemned.
Drugs
Any misuse of drugs must be infrequent and should
not be glamorised or give instructional detail.
Horror
Moderate physical and psychological threat may be
permitted, provided disturbing sequences are not
frequent or sustained.
Imitable behavior
Dangerous behavior (for example, hanging, suicide and
self-harming) should not dwell on detail which could be
copied, or appear pain or harm free. Easily accessible
weapons should not be glamorised.
Language
Moderate language is allowed. The use of strong
language (for example, ‘fuck’) must be infrequent.
Nudity
Nudity is allowed, but in a sexual context must be brief
and discreet.
Sex
Sexual activity may be briefly and discreetly portrayed.
Sex references should not go beyond what is suitable for
young teenagers. Frequent crude references are unlikely
to be acceptable.
Theme
Mature themes are acceptable, but their treatment must
be suitable for young teenagers.
Violence
Moderate violence is allowed but should not dwell on
detail. There should be no emphasis on injuries or blood,
but occasional gory moments may be permitted if justified by the content.

Suitable only for 15 years and over
Discrimination
The work as a whole must not endorse discriminatory
language or behavior.
Drugs
Drug taking may be shown but the film as a whole must not
promote or encourage drug misuse. The misuse of easily
accessible and highly dangerous substances (for example,
aerosols or solvents) is unlikely to be acceptable.
Horror
Strong threat and menace are permitted unless sadistic
or sexualised.
Imitable behavior
Dangerous behavior (for example, hanging, suicide and
self-harming) should not dwell on detail which could be
copied. Easily accessible weapons should not be glamorised.
Language
There may be frequent use of strong language (for example,
‘fuck’). The strongest terms (for example, ‘cunt’) may be
acceptable if justified by the context. Aggressive or repeated
use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without
strong detail. There are no constraints on nudity in a
non-sexual or educational context.
Sex
Sexual activity may be portrayed without strong detail.
There may be strong verbal references to sexual behaviour,
but the strongest references are unlikely to be acceptable
unless justified by context. Works whose primary purpose is
sexual arousal or stimulation are unlikely to be acceptable.
Theme
No theme is prohibited, provided the treatment is
appropriate for 15 year olds.
Violence
Violence may be strong but should not dwell on the infliction
of pain or injury. The strongest gory images are unlikely to
be acceptable. Strong sadistic or sexualised violence is also
unlikely to be acceptable.
There may be detailed verbal references to sexual violence
but any portrayal of sexual violence must be discreet and
have a strong contextual justification.

Suitable only for adults No-one younger than 18 may see an ‘18’ film in a cinema.
No-one youngerthan 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public
consultations and The Human Rights Act 1998, at ‘18’ the
BBFC’s guideline concerns will not normally override
the principle that adults should be free to choose their
own entertainment. Exceptions are most likely in the
following areas:
• where the material is in breach of the criminal law,
or has been created through the commission of a
criminal offence
• where material or treatment appears to the BBFC to
risk harm to individuals or, through their behaviour,
to society – for example, any detailed portrayal of
violent or dangerous acts, or of illegal drug use,
which may cause harm to public health or morals.
This may include portrayals of sexual or sexualised
violence which might, for example, eroticise or
endorse sexual assault
• where there are more explicit images of sexual
activity which cannot be justified by context. Such
images may be appropriate in ‘R18’ works, and in
‘sex works’ (see below) would normally be confined
to that category.
In the case of video works (including video games),
which may be more accessible to younger viewers,
intervention may be more frequent than for cinema films.
Sex education at ‘18’
Where sex material genuinely seeks to inform and
educate in matters such as human sexuality, safer
sex and health, explicit images of sexual activity may
be permitted.

We have decided that our Film Noir will be a 15 certificate due to the characteristics and conventions needed to create a Film Noir, this includes themes such as corruption, jelousy and crime which would not be suitable for those under 15 to view.

Origins of Film noir

The themes of film noir, derived from sources in Europe. Film noir is rooted from German Expressionism in the 1920's and 1930''s where successful film makers such as Fritz Lang, fled from Germany during the war and imported their work and ideas to Hollywood. German directors such as Robert Wiene, G.W Pabst and F.W Murnau were noted for their stark camera angles and movements, contrast lighting and shadowy, high contrast images, these all became elements of film noir. French sound Films such as Pepe Le Moko(1937) by director Julien Duvivier also contributed to film noir's development.

Another sub Origin of film noir was from the plots and themes taken and adapted from American literany works, generally best selling pulp novels and crime fiction by James M. Cain, Raymond Chandler or Cornell Woolrich. This resulted in the earliest film noir's being detective thrillers. Film noir also derived from the crime/gangster and detective/mystery saga's from the 1930's (Public Enemy 1931, Scarface 1932) but very different in characterization and tone.

Traditional gangster framework was based on film noir elements such as The Drive By Night (1940) and White Heat (1949).

It is uncertain what the first film noir was however many sources claim that director Boris Ingster's and RKO's, Stranger On The Third Floor(1940) was the first film noir containing many elements including after affects and circumstances of a murder trial. Other claim that Orson Welles' Citizen Kane(1941) influenced pre-film noir greatly.

The first detective film noir to use shadowy film noir style in a definitive way was the work of a novice director named John Huston in The Maltese Falcon (1941)

Paranoia, despair, bleakness, loss of innocence and mistrust are evident in film noir, this reflects the fear present during the cold war period when the threat of nuclear war was present. The criminal, violent and greedy perspectives of anti-heroes in film noir were a symbol of the evil in society at the time, with a strong sense of moral conflict and sense of injustice. There were rarely happy endings. Classic film noir developed during and after World War II, taking advantage of the post-war ambiance of anxiety and suspicion. During this era of McCarthyism, thousands of Americans became accused of being Communists or communist sympathizers and the subject of aggressive investigations and questioning before government or private-industry panels. The primary targets of such suspicions were government employees, those in the entertainment industry, educators and union activists. This era influenced the film industry greatly and emphasised the depression and reflection of the general public at the time.

Evaluation

Scarlet Street was released 28th December 1945 having been produced and directed by Fritz Lang Productions and distributed as a universal release by Universal Pictures.

An establishing shot introduces a fairly busy rainy street at night time. This reflects the Film Noir genre as these are general settings and themes used. These techniques used automatically create a strange atmosphere and obscure feel connoting an uneasy situation. A tall blonde female walks past walking a dog, however she is wearing a dress and high heels showing her legs. This connotes that the women care about their appearance and being attractive. This follows the idea of having a seductive femme fatale. A policeman is wearing a smart sophisticated uniform and blowing a whistle to conduct traffic, this represents his authority and the respect for the police force during this era. Passers by are all wearing long trench coats and the males with bowler hats, a female is carrying an umbrella, this was also popular during this era and it emphasis the settings and weather conditions. A man and women are linking in deep conversation connoting romance, this was a popular convention of the Film Noir genre. Taxi's and expensive cars with personal drivers fill the street reflecting on the era and showing wealth. Lively, non diagetic music creates energy and excitement to the atmosphere and ambient sounds along with synchronous car sounds emphasise this and make the scene more realistic. A man with a pet monkey on a lead stands with a music box which fits in with the non diagetic music. This shows that he has authority over the monkey and uses him as a servant figure. When the man stops with the music box the non diagetic music stops introducing us to the house. A Glamorous blonde women wearing a fur coat appears out the car window to see the man with the monkey portraying a typical femme fatale in Film Noir. A driver gets out the car wearing a smart suite and hat suggesting sophistication and wealth that the women can afford her own driver. A shadow is used on the wall as the driver walks in, this is a convention of Film Noir that is often used to create a strange, queer view point to the audience. 'He's a jolly good fellow' can be heard from outside the room suggesting that a celebration is taking place or event. 'Private' is wrote on the door connoting secrecy and mystery which is a theme of general Film Noir's. As the butler opens the door we denote a long white apron and smart suite with white bow, this suggests he is waiting or working for someone, probably somebody with more authority than him. Outside the room saying 'private' a middle aged women is knitting, this shows representation of popular pass times and interests around this time and era. In the dining room a large piano is being played this shows sophistication. A wide shot denotes a large dining table with a lot of men in suits and ties sat around a table. The majority are smoking and drinking alcohol, low key lighting is also used. This creates atmosphere and gives the audience a feel for the targeted theme's, Smoking and drinking was also a normal every day to day thing in the 1940's and people were less worried about health risks and often did it by habit. When the boss(J.J) stands up everyone is quiet, this shows that they respect people with a higher authority than them. J.J then makes the comment 'You can't keep a woman waiting,' this match's the sexual representation themes in film Noir's and that woman were the more seductive characters. A close up of the 14 carat, 24 jeweled time piece that J.J gives Christopher as a 25 year service present, connotes how wealthy J.J actually is and emphasis' the idea that he is the boss and in charge who respects his employee's. A pan around the table helps to show the different emotions and how the other employee's react, this camera movement intersects with a mirror which reflects the scene in there. This matches a technique often used in Film Noir's which creates a strange obscured reflection and the idea that something is not quite right and does not follow the normal rules. Christopher also tells us, 'I never expected to own a watch like this,' and 'You're the best boss in New York City,' this emphasis' the idea that he has great respect for J.J. A wide three shot shows J.J telling Christopher to 'Have a smoke,' Christopher tells us 'I don't usually,' but J.J's comment telling him that they are made especially for him gives Christopher no choice. He feels pressured and J.J makes him feel as though it is a privilege that he has asked him, Christopher's body language shows that he is uncomfortable as he is unsure what to do with the cigarette and looks at it puzzled. The ambience chatting sound build's up the pressure and Christopher is forced to take it.

Scarlet street

Mindmap

Aim

For my media coursework we have been given the task to create a Film Noir or Horror sequence. My group consists of Jen Newcombe, Sam Kidson and Alex Mcmorris, we have decided to research into Film Noir. We watched L.A Confidential to get some ideas and create a mind map of the Film Noir genre.