Certifications (bbfc.co.uk)

Certification is the act of certifying or bestowing a franchise on. From looking at the certification rages, and previous exploration of other horror film certifications, I have decided in rating the horror film a 15, but of course I am only making a trailer. Less exposure is presented in a trailer, so I will have different classification (12A) for this. To back-up this idea, here are the various classifications for a film that contains strong bloody violence, named 'Immortals'.

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.

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years.

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order

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.

Suitable for 12 years and over

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

Suitable only for 15 years or over

No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.

Suitable only for adults

No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.

Andrew Pulver- To cut or not to cut: a century of film censorship
"Cooke says rows over films such as Human Centipede 2 may be entertaining and headline grabbing, but the agency's real work of classification - dealing with about 650 feature films and more than 9,000 DVDs this year - is connected to modifying the age range of people allowed into blockbusters.
One recent example that Cooke cites is the negotiations over the James Bond film Casino Royale. "It was one of those typical blockbusters that come in on the 12A/15 border. We intervened in a scene when Bond gets whipped on a seat from below. We insisted on a reduction of that."
There were concerns, too, over the film's violent opening scene, when Bond smashes a man's head into the sink. "It's strong stuff for a 12A," he says. "But we felt the context was quickly established - that this was a Bond film and all that goes with it. In a different context, it might not have been possible to allow it."
Just as tricky are accusations of preferential treatment. A recent incarnation was the dispute over the treatment of the 17 uses of "fuck" in The King's Speech and Made in Dagenham; the former received a 12A (after initially being classified a 15), while the latter a 15, despite producer Stephen Woolley's outraged protests. Cooke says: "The distinction we drew was that The King's Speech had them all stuttered out in two bursts and was in the speech therapy context - we felt it was a wholly exceptional context which there was no equivalent in Made in Dagenham."