The BBFC ( certificates )

Symbol	Name	Definition
	Universal Children	Suitable for all, but especially made for children under 7 years of age.
	Universal	All ages admitted, there is nothing unsuitable for children.
	Parental Guidance	All ages admitted, but parents are advised that certain scenes may be unsuitable for children under 13
	12 Accompanied	Suitable for those aged 12 and over. Those aged under 12 are only admitted if accompanied by an adult at all times during the performance (replaced the standard 12 certificate for cinema releases only in 2002)
	12	Suitable for those aged 12 and over. No-one younger than 12 may rent or buy a 12 rated VHS, DVD or game (home media only since 2002)
	15	Suitable for those aged 15 and over. Nobody younger than 15 may see a 15 film in a cinema. No-one younger than 15 may rent or buy a 15 rated VHS, DVD or game.
	18	Suitable for those aged 18 and over. Nobody younger than 18 may see an 18 film in a cinema. No-one younger than 18 may rent or buy an 18 rated VHS, DVD or game.
	Restricted 18	Suitable for those aged 18 and over. May only be shown at licensed cinemas or sold at sex shops, and only to people aged 18 or over.

The British Board of Film Classification decides which films are to be given which ratings. Her is a basic overview of what defines each certificate and therefore what you would expect to see in each are.

The below information is the exact statistics the BBFC use to determine film certificates. The information below was taken from www.bbfc.co.uk 

12 – Suitable for 12 years and over. No-one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult. No-one younger than 12 may rent or buy a ‘12’ rated video or DVD. Responsibility for allowing under-12s to view lies with the accompanying or supervising adult.

Theme

Mature themes are acceptable, but their treatment must be suitable for young teenagers.

Language

The use of strong language (eg 'fuck') must be infrequent. Racist abuse is also of particular concern.

Nudity

Nudity is allowed, but in a sexual context must be brief and discreet.

Sex

Sexual activity may be implied. Sex references may reflect what is likely to be familiar to most adolescents but should not go beyond what is suitable for them.

Violence

Violence must not dwell on detail. There should be no emphasis on injuries or blood. Sexual violence may only be implied or briefly and discreetly indicated.

Imitable techniques

Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail or appear pain or harm free. Easily accessible weapons should not be glamorised.

Horror

Sustained moderate threat and menace are permitted. Occasional gory moments only.

Drugs

Any misuse of drugs must be infrequent and should not be glamorised or instructional.

'15' – Suitable only for 15 years and 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 or DVD.

Theme

No theme is prohibited, provided the treatment is appropriate to 15 year olds.

Language

There may be frequent use of strong language (eg 'fuck'). But the strongest terms (eg 'cunt') will be acceptable only where justified by the context. Continued aggressive 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 but without strong detail. There may be strong verbal references to sexual behaviour.

Violence

Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.

Imitable techniques

Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.

Horror

Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.

Drugs

Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.

'18' – 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.

In line with the consistent findings of the BBFC's public consultations, at '18' the BBFC's guideline concerns will not normally override the wish that adults should be free to chose their own entertainment, within the law. Exceptions are most likely in the following areas:

• where material or treatment appears to the Board to risk harm to individuals or, through their behaviour, to society – e.g. any detailed portrayal of violent or dangerous acts, or of illegal drug use, which is likely to promote the activity. The Board may also intervene with portrayals of sexual violence which might, e.g. eroticise or endorse sexual assault.
• the more explicit images of sexual activity – unless they can be exceptionally justified by context and the work is not a 'sex work'.

Continuity Task

We had a small set of brief objectives to complete in our continuity task. Our main objective was to film an actor enter a room, converse with another actor and exit. I believe we achieved this well. After creating a storyboard of each step in which i drew the images for and Clare annotated we began looking for a location to shoot. After choosing the Winter Gardens for our location ( this choice was made due to good lighting there and good sound quality in that area ) we began filming. 

 Due to one of the members of our group missing and being very short on time I ended up having to act in our continuity task. This allowed Clare to use the camera- which is something that she hadn’t done before. She filmed some great shots during the shot reverse shot sequence however her panning was rather juddery and she did need some technical support. Although the camera was not as effective as it could have been I feel that Clare gained alot of valid and useful experience from this. 

 Once filmed the video was given to me to be edited, considering the time I had and the amount of film I had to work with I think I done a good job. I moved a shot which was in the middle of the scene to the beginning to introduce the character and setting before the event reinforcing the realism of the extract. I also added fades at the beginning and end which helped the scene feel smoother. If we were to do this again I would change two things:

1: Have another actor instead of me so I could therefore help Clare and be more involved

2: Shot the shots several times more so that we had more clips to choose from.

Despite this I believe that the text created was successful and followed the guidelines originally set.

Practice continuity task

Our task for our group was to create a scene with a small plot ( mainly beening a conversation ) and film it using shot reverse shot when needed.
In my opinion, the acting was adequate, however, as I would rather not prefer to undertake the important role of acting i decided to to get behind the camera and film for this task. I found it particularly enjoyable although the outcome was poor. Our opening started great with a good long shot and smooth cuts and close ups. However when it came to the shot reverse shot scene I made a huge mistake by breaking the 180 degree rule. From this i have learnt how to avoid breaking this important rule. We managed to work well together even with a member missing. We practiced each shot and then took the real take.
The editing and sound were well constructed and it was clear to hear what the actor and actress were saying. There were also fades at the start and end of the scene which helped it flow and made it look alot neater.

They video for this will be up shortly

Practice animatic

The first task set to our group was to create an animatic. This involved doing the following three steps
:1. Creating a storyboard for a scene from a horror movie.
2.Uploading the images of the storyboard onto the apples
3.Creating an animatic with use of effects and sound to create a feel of how our scene would look filmed.

I found the task fairly easy but this may because i have large experience in using the apple software and cameras. First we decided our storyboard, i drew the pictures whilst Clare and Lawence directed me and decided shot lengths and other factors. After this i photographed the skecthes and imported them into Premire Pro. My particular role within the task was creating the animatic whilst Clare and Lawence directed me on how they wanted it to look. I also dded my opinion when i felt it valid. Afterwards I added a soindtrack then exported it. I feel the task went very well and smoothly. I think our animatic was very good had only a few small flaws for example the last shot of the blood splattering on the doorhandle could have been a better drawing and maybe a few more shots coulld have been added in and the drawings improved. Apart from these few small factors i feel it was good.

What is a thriller ?

What is a Thriller

Genres help categorise  films and programmes into sections. There are many different types of genre throughout film. Certain genres in turn carry their own codes  and conventions, these allowaudiences to engage and understand aspects that create a certain atmosphere through the film. 

 With the thriller genre its main purpose is to develop a sense of anticipation, tension and uncertainty with the audience, causing them to feel "on edge'. Thrillers are designed to keep the viewer or reader anxious with suspense and action. Thrillers have also been produced in the theatre, books and television media. The thriller genre is very large, and thrillers often overlap with other genres, for example, there are horror thrillers aswell as romantic thrillers which often differ highly. 

 Audiences enjoy the gripping story lines and suspense seen in thriller films, this makes the genre very popular. 

  Codes and conventions such as the settings, characters and narrative all our key justifiers and help to establish the genre. 

Following the codes and conventions of the genre these thrillers usually involve clever heros, elaborate story lines exotic settings and sudden plot twists. These combined with other media effects can create suspense thats almost unwatchable.

The plots of thrillers can vary widely due to the amount of sub genres.  Supernatural thrillers will be centered round a unexplainable event or mysterious antagonist. Crime thrillers often focus on a main character trying to solve a mysterious event forcing them to contend with biological agents or unusually happenings. One of the most recognizable thrillers is the spy thriller which almost always features an often heroic and attractive spy who must confront and defeat a enemy that has far greater power then them.

Sub Genres of Thrillers:

Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. Notable examples are James Bond films.

Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes.

Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Example, The Godfather.

Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster.

Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.

Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre.

Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes films such as Fatal Attraction.

Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention.

Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.

Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerristen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.

Political thriller - In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this sub-genre. A more recent example is the 1980 film "Agency".

Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).

Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)

Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.

Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller." 

-Taken from:http://en.wikipedia.org/wiki/Thriller_(genre)#Sub-genres