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Viewing entries from category: Censorship & Regulation

International Film Styles: Neorealism »

James Clarke | Friday September 04, 2015

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Non-Hollywood Films, Kes, World Cinema, Rome, Open City, Genres & Case Studies, Neorealism, Hot Entries, Key Concepts, Audience, Film Language, Representation

Across the varied and diverse ways in which a film text can encode and emphasise meanings and a specific viewpoint on or presentation of a subject, realism is a key aesthetic and formal choice and approach that has functioned as a key creative direction of so much western expression across literature and the visual arts. This resource, then, explores the characteristics of a particular film style that we call neorealism. It stems from post World War Two Italian cinema and its influence has been felt in cinemas around the world.

In exploring two films as our key texts in...

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Sweet Sweetback’s Baadasssss Song (1971) Case Study »

Rob Miller | Monday September 22, 2014

Categories: A Level, WJEC A Level, WJEC A2, FM4, Section C: Single Film Critical Study, Analysis, Film Analysis, Film Industry, Censorship & Regulation, Film Distribution, Film Marketing, Film Publicity, Films & Case Studies, Non-Hollywood Films, Sweet Sweetback's Baadasssss Song, Genres & Case Studies, Crime, Drama, Independent, Thriller, Hot Entries, Key Concepts, Representation

FM4: Varieties of Film Experience – Issues and Debates Section C: Single Film – Critical Study

Section C of FM4 offers students the ability to engage in a critical study of a single film, within a synoptic framework – this means the micro and the macro features need to be studied, as well as issues of representation. Useful will be placing the film in an institutional and cultural context in reference to production, funding distribution, audience, audience reception but also genre and narrative. WJEC do provide, on request a short Reader on each film with a number...

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British Film and Genre (Horror and Comedy) »

Rob Miller | Wednesday December 04, 2013

Categories: A Level, WJEC A Level, WJEC AS, FM2, Section B: British Film Topics, Analysis, Film Analysis, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Hollywood Films, 28 Days Later, Non-Hollywood Films, Four Lions, Genres & Case Studies, British Film, Comedy, Horror, Hot Entries, Key Concepts, Audience, Film Language, Representation

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The British Film Industry is successful and thriving but as Jill Nelmes identified in An Introduction to Film Studies can be defined on a number or levels and by a range of “disparate films, genres and movements”. In addition to this there are arguments over what is a British Film and as such, there have been many attempts to define British Film over the years. A useful definition that the BFI proposed in 1996 was that films could be described and culturally and/or institutionally British e.g. commercially successful British Films like the...

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Film and Thatcher’s Britain »

James Clarke | Tuesday December 03, 2013

Categories: A Level, WJEC A Level, WJEC AS, FM2, Section B: British Film Topics, Analysis, Film Analysis, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Marketing, Film Publicity, Film Promotion, Films & Case Studies, Hollywood Films, Chariots of Fire, Non-Hollywood Films, My Beautiful Laundrette, Genres & Case Studies, Comedy, Drama, History, Romance, Sport, Hot Entries, Key Concepts, Audience, Film Language, Representation

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One of the key issues to be explored in our study of film is that of representation. As such, it’s fair to say that there’s an established, and largely agreed upon, understanding that film, like other media and forms of cultural expression, can reflect back to us aspects of the conditions in which we live or have lived with. Certainly, there’s scope for us to think about how British cinema has, in more or less ‘obvious’ ways, reflected back to us a point of view about a particular British Prime Minister, Margaret Thatcher, and the period...

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The Impact of World War Two on British Cinema »

James Clarke | Tuesday December 03, 2013

Categories: A Level, OCR A Level, OCR AS, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Non-Hollywood Films, In Which We Serve, The Life and Death of Colonel Blimp, Genres & Case Studies, Drama, Romance, War, Hot Entries, Key Concepts, Audience, Film Language, Representation

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World War Two impacted ferociously on Great Britain: cities were attacked by German bombers, air battles were fought and daily life was severely tested over the six years of conflict. It’s understandable though, if the war seems a long, long time ago to you. Cinema, however, offers us a meaningful way to reconnect with, and reflect on the event and to develop a sense of the relationship between World War Two and British cinema. Attendance at cinemas was acutely influenced by the war and, perhaps most interestingly, in terms of the kinds of film...

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Spectatorship and Early Cinema Before 1917 »

James Clarke | Saturday November 30, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC A2, FM4, Section B: Spectatorship Topics, Analysis, Film Analysis, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Hot Entries, Key Concepts, Audience, Film Language, Representation, Theory, Spectatorship Theory

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Cinema is now nearly 120 years old and it’s a magnificently broad, deep, complex and exciting subject.

It’s understandably easy to think that the way films are now is how they have always been, in terms of their technology and particularly how they organize (tell) their stories. However, this isn’t the case and so it’s important for us to be aware that all forms of cultural expression evolve across time and that they are subject to many influences, intended or not. Understanding how cinema began might, in fact, give us some feeling for...

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Developments in 21st Century Cinema and Film (2000-Present) »

James Clarke | Wednesday November 27, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Film History, Cinema in Context, Film Industry, Censorship & Regulation, Copyright & Licensing, Film Distribution, Film Marketing, Film Publicity, Film Promotion, Production Companies, Films & Case Studies, Hollywood Films, Avatar, World Cinema, Atanarjuat: The Fast Runner, Hot Entries, Key Concepts, Audience, Film Language, Representation

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Film is technology. It’s an obvious point, and an essential one.

Film established itself as a symbol of the modern, mechanical age of the late nineteenth and early twentieth century and so it is particularly interesting to now witness how the medium is moving into the digital age. Indeed, we should perhaps talk not of new technology but of now technology because it is so quickly ever changing and evolving. In Western Europe we live in an increasingly digital and electronic age and since 2000 the film industry has witnessed the rapid impact of...

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Film Regulation and Classification »

James Clarke | Thursday November 14, 2013

Categories: A Level, OCR A Level, OCR A2, OCR AS, WJEC A Level, WJEC AS, WJEC A2, Film Industry, Censorship & Regulation, Hot Entries

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Britain is one of the most highly regulated nations in the ‘west’ in terms of what can be shown at cinemas and in this resource we will explore aspects of the institutional roles of film regulation and classification and the dynamic that is legally required to operate between the institutions of the British Board of Film Classification (BBFC) and the film industry. To put it very simply, if you want your film distributed and shown to the paying public, at a cinema or on home video, then you are legally required to submit it to the BBFC. In...

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Censorship & Regulation Links »

Richard Gent | Monday September 12, 2011

Categories: Film Industry, Censorship & Regulation

BBFC.org.uk Find out about film certification and censorship using this site.

SBBFC.org.uk Students’ British Board of Film Classification This site is aimed at media and film studies students and teachers covering the topics of Media Regulation and Censorship in the UK. The site was designed and is maintained by the British Board of Film Classification.

TMAP.org.uk Teenage Magazine Arbitration Panel The Teenage Magazine Arbitration Panel (TMAP) is the magazine industry’s self-regulatory body which ensures that the sexual content of teenage magazines is presented in a...

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