Nem sempre a ocorrência de cenas que remetem à violência, sexo e drogas são prejudiciais ao desenvolvimento psicológico da criança, portanto estes são sempre analisados e ponderados com os critérios de atenuantes e agravantes.
]]>Content is assumed to be unrated if no rating is provided. For example, if there is no MPAA rating included in a ratings set, the content is assumed to be unrated by the MPAA. However, if the author wishes to explicitly state it is unrated or provide nuance on its unrated states, the “UNRATED” rating should be used with the appropriate scope.
In this content, unrated means that this particular media instance has not been rated through a ratings process. This frequently means that a work has never been self-rated or submitted to a ratings body, for example, because of the nature of the work (e.g., a sporting event) or for budgetary reasons. ‘Unrated’ is also used as a marketing term to reflect a work that contains additional material, generally implied as material that would change the rating, often represented something like, “The Unrated Edition”.
If no Reason is provided, nothing should be inferred about why the content is not rated. Reasons can be used to provide additional explanation
]]>The ‘ADULT’ Rating is best categorized by US Supreme Court Justice Potter Stewart’s statement, “ I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it, and the motion picture involved in this case is not that. ”
Pornography, as determined by the norms within the scope of the rating, should almost always classified as ‘ADULT’.
]]>The ‘PROSCRIBED’ special rating covers content that should not be distributed within the scope of this rating. The proscribed category covers banned and illegal content. Conditions such as Australia’s (NCS) Refused Classification category are included in this category.
Note that what is forbidden in one region may be acceptable within another.
As content with this marking is extremely sensitive, it is preferable to encode using rating-system scope rather than just region scope. This increases the likelihood that parental control systems will notice the status. Conversely, parental control systems should look for ratings and the system, region and global scopes to ensure they do not miss proscribed content.
A ‘PROSCRIBED’ special rating should not be used with worldwide scope because such content should not be distributed at all.
]]>In order to be released for all age groups, movies should, as a rule, be not longer than 90 minutes. Their dramaturgical structure should allow children below the age of six to mentally absent themselves from the story temporarily.
The movie should be edited so as to have longer scenes inbetween short cuts. Children like beautiful, drawn-out images and are irritated when these are suddenly interrupted. Special attention needs to be given to camera angles and settings, especially for animated cartoons.
The language used should be clear and distinct, without too much rapid-fire dialogue. Another important feature is the score: loud and aggressive music is distressing. Dark sequences, accompanied by a threatening score, will enhance negative emotions. Another criterion is the content. Children under six should, at least to some extent, be able to respond to the content – they should be given an opportunity to laugh, be glad, have fun about what happens on the screen. Animals are very important because small children tend to identify with them.
Pre-schoolers cannot distinguish between imagination and reality – they experience both as “real”. As a rule, the younger the children, the more easily they are out of their depth and frightened.
A movie showing a mental stress situation inappropriate for a given age group affects its rating. This would include scenes of people being left alone, children in a strange surrounding, situations that trigger fear or sadness or sudden frightening events.
]]>This rating assumes that elementary school children are better able to distinguish between imagination and reality. They usually have sufficient media experience to protect themselves from harrowing film situations by using “distancing strategies” (e.g. putting their hands over their eyes, holding their ears, doing something else, leaving the room temporarily, switching to another channel with the remote control). Other than their younger peers, they do not absolutely require happy endings for individual shots or scenes but still want stories they can cope with.
First-graders realise that animated cartoons are fictitious – “just a movie”. Slapstick violence is felt to be unrealistic and thus more harmless than violence in real-world movies.
A key element is the happy ending. Children of that age are still strongly focused on animals, but can already handle more realistic scenes, such as the death of an animal. This age group consciously perceives the family as a sheltered zone (in contrast to the school) and is highly sensitive to family subjects: movie parents divorcing, movie children running away from home are contents that are registered by children. “Family movies” in particular need to be watched for this aspect.
Most school children are familiar with media merchandising. They are surrounded by media heroes/heroines and media contents: T-shirts, t oys and many other merchandising products prepare them for a cinema and TV experience and let them re-live that experience. The children are aware of and see through the methods used by such merchandised movies to raise the excitement level (action, story structure). Nevertheless, attention needs to be given to the presentation which must clarify that turbulences are purely part of the story.
Problems are posed by movies that allow no clear-cut moral attributes, because children aged six to eight still think mostly along simple black and white, good and bad guy lines. The more removed such scenarios are from the children’s everyday life, the less frightening they are. News reports, documentaries and realistic movies that show violence and threatening situations can seriously distress and frighten children.
]]>Children aged 8-10 years are generally already able to understand longer and more complex film plots. Motives and intentions of film characters are clearly identified by 8-year-olds, since they have already advanced in their affective-emotional development and have thus developed the ability to see through and foresee the plots. At this age children are increasingly able to take different perspectives and even anticipate the reactions of media characters, assuming, that is, that the contents are related to their own environment.
Everyday stories of all kinds in which empathy with the characters is possible, or even required, are therefore of great interest. In addition, fantasy and science fiction films that show the development of a certain independence, their own role model (girl / boy) and friendships with peers, can also create important moments of identification.
The level of cognitive performance and reasoning of 8-year-old children is significantly higher than that of 6-year-olds, and therefore the films may be, in a formal sense, a little more demanding. Furthermore, children at this age often develop an interest in cinematic design media and their first concept of genre.
The main and sub-plots, or indeed simple temporal and spatial jumps, are usually followed properly. The use of ellipses and their mental supplementation can come with relative ease to 8-year-old children. Even more complicated plots with multiple figures are usually understood. In contrast, rapid scene changes, flashbacks, time lapses and other stylistic aspects of the film can sometimes be confusing, and are therefore considered more carefully. Tension elements or elements of the so-called anxiety-like processes can also be better processed, though they should not be too long or have a lasting effect.
Children from the age of 8 or 9 years can largely distinguish between fiction and reality. An exception would be reality stories and news-like representations, where children find it difficult to distinguish between reality and fiction because of the documentary nature of the material.
It is possible for children of this age group to distance themselves from the film scene, at least to a certain extent. Certain genres such as fairy tales, science fiction or animation films are clearly identified as such. Nevertheless, it should be noted: certain movie content can trigger strong concerns with the individual child, e.g. if the child has faced problems in the real world similar to those of the film character. The more this happens, the greater the participation and thus the emotional involvement in the events. A positive resolution of conflict situations or frightening sequences and a clear happy ending are therefore of great importance even for this age group. Children from 8 to 10 years are not yet in a position to sufficiently deal with open ends.
]]>Es werden Parallelen hergestellt zwischen der eigenen Welterfahrung und der filmischen Weltdarstellung.
Kinder dieser Altersstufe erfassen nun schon die Komplexität einer Handlung. Es beginnen sich bei vielen spezielle Vorlieben und damit auch Medienkompetenz zu entwickeln, d.h. ein Bescheidwissen über Formate, Dramaturgien, Genres. Sie bilden individuelle Ansprüche aus und es beginnt – ausgenommen von Vielsehern – ein bewusstes Auswählen von Programmen, Sendungen, Filmen. Charakteristisch für diese Altersstufe ist weiters, dass Kinder sich bewusst auf ein Mitfühlen und Mitgehen mit der Handlung einlassen und – ein intaktes soziales Umfeld vorausgesetzt – auch gefährliche und gruselige fiktive Situationen genießen. Wie Erwachsene den ”Thrill” eines Hitchcock-Krimis schätzen, lieben Kinder den „Geisterbahneffekt” von spannenden Geschichten aller Art, was schon bei der Faszination der Märchen, in denen es nicht selten grausam und gruselig zugeht, beginnt.
Unter den Bedingungen, dass sich das Kind freiwillig und auf Grund seines Wissens um ein sicheres Happyend dem spannenden Medienerlebnis aussetzt, und die Gefahren als äußere objektive Bedrohung erkennbar sind (Bösewichter, Monster, Ungeheuer, Aliens etc.), kann es dem Mediengeschehen mit der Verarbeitungsform der Angst-Lust begegnen.
]]>Between age 10 and 12, children have acquired sufficient media experience to understand movie scenes and assess their potential threat. They draw parallels between their own experience and what they see in the movie.
Children of this age group perceive the complexity of a story line. They begin to develop special preferences and thus media competence, i.e. they know about formats, story lines, genres. They develop individual partialities and – with the exception of TV and cinema gluttons – become choosy about programmes, shows and movies. Another characteristic feature of this age group is that children begin to show empathy and even enjoy dangerous and spooky scenes (always providing an intact social environment). Just like adults like to be thrilled by a Hitchcock movie, children love the “tunnel of horror” effect of exciting stories, as evidenced by the fascination exerted by fairy tales which are typically gruesome and scary.
Provided that the children voluntarily and in the secure knowledge of an inevitable happy ending expose themselves to an electrifying media event and recognise the threats as being an external and objective danger (villains, monsters, ogres, aliens, etc.), they can face the story by drawing on ways to still their “lust for fear”.
]]>Sie können recht genau zwischen realer und fiktionaler Atmosphäre unterscheiden. Das Verstehen der Filmhandlung ist nicht mehr an einen chronologischen Raster gebunden. Wesentliches und Unwesentliches im Film werden erkannt, kompliziertere Gestaltungsmittel, z.B. Rückblenden, stellen kein Verstehenshindernis mehr dar. In dieser Altersgruppe macht sich eine ausgeprägte Mediensozialisation bemerkbar. Botschaften der audiovisuellen Medien werden mühelos dechiffriert. Deshalb wächst in dieser Altersgruppe das Interesse an Fantasy- und Science- Fiction-Filmen sowie Parodien filmischer Genres.
Diesem Verstehen der bildsprachlichen Mittel steht allerdings eine schwierige persönliche Entwicklungsphase gegenüber:
Berücksichtigt man diese Punkte, kann nicht mehr allein die bildhafte Aussage im Vordergrund stehen, sondern es muss die dahinter stehende Ideologie befragt werden. Dies bedeutet keine inhaltliche Zensur, sondern schlichtweg ein Hinterfragen der im Film vermittelten Botschaften und deren Wirkung auf diese Altersgruppe. Von der emotionalen bildlichen Verstehensebene des Filmes hin zu der rationalen Fähigkeit, Ideologien, Weltbilder, Vorurteile zu durchschauen, ist noch ein weiter Weg.
]]>Twelve-year-olds are capable of following the overall story and cope with fraught-filled scenes. They are well able to distinguish between reality and fiction. Their understanding of the story is no longer tied to a chronological pattern. They can separate the essential from the non-essential and are able to understand complex stylistic artifices such as flashbacks.
This age group shows a marked media socialisation. Messages transmitted by the audiovisual media are easily deciphered. As a r esult, this age group is increasingly interested in fantasy and SF movies, and in spoofs of movie genres.
This understanding of movie tools, however, comes at a time when they pass through a difficult phase in their own development:
When these factors are considered, the rating process needs to account not just for the image projected, but has to look into the ideology behind the image. This does not mean censorship, but simply the questioning of the film’s message and its effect on the age group. For youths, there is still a long way to go from emotional understanding of the image to a rational capacity to see through ideologies, conceptions of the world and biases.
]]>This age group to all intents and purposes has viewing habits similar to those of adults. Its members wish to be seen as adults – as is confirmed by empirical studies. In their behaviour they are increasingly guided by the peer group rather than the parental home.
Fourteen-year-olds have much media experience, although they are still lacking in life experience. When watching bad movies they mercilessly see through every faux pas and blunder committed by the makers. But when they meet up with well-made movies, they develop astonishingly little detachment.
When their own world is perceived as insecure, certain genres are ecstatically received. Movies whose action heroes fight and vanquish an array of high-tech fiends are extremely popular. Although most of the youths see through such movies and judge them as being just spectacular entertainment, consideration still needs to be given to the fact that such movies strengthen and justify negative dispositions. They are problematic when they restrict themselves to simple solutions, make light of violence and exploit brute force for entertainment purposes.
]]>Youths of that age generally have considerable media competence. Nevertheless, movies that send socially damaging messages are still problematic. Under Austrian law, movies that discriminate against particular groups, show sexual scenes in an abusive context (or reduce sex to an urge-gratifying tool), run counter to partnership-based gender relations or – worst of all – glorify violence, may be released only for viewers from age 16. Grounds for restrictions up to age 16 are appeals to religious intolerance, violation of accepted taboos, political extremism, xenophobia, racism and the positive depiction of drugs and alcohol.
]]>A fantasy character is a character that does not exist in real life and does not take a human appearance and includes ghosts, gremlins, dragons and other mythical creatures. The characters react in a way that would not be expected of human-like characters and although you know that the characters are being killed or injured you do not really see very much (eg. the characters immediately disappear in a puff of smoke or are otherwise so small that you really cannot see what exactly is happening).
This is where the depiction gives only a basic representation of a human (stick men or pixelated characters). If the characters are small but are detailed enough to be clearly recognisable as humans a ‘yes’ answer to this question is not appropriate.
Characters must react to the violence in an unrealistic way, e.g. they flash or disappear when hit, but do not show any apparent reactions consistent with real life. The important aspect will be the minor nature of the violence. Therefore there cannot be any of the following:
This is where you do not actually see any violence to humans but it is obvious what is happening. It covers such matters as the bombing of a city where you know civilians are killed and injured, blowing up a tank or shooting down a plane where you know the crew are killed, smashing into cars or other vehicles where the driver/passenger must be injured. It also includes depictions of violence against humans where you do not see any violent act, or the immediate reaction to this act, but you do see the cause and/or the result.
A child-like setting is a setting that is more likely to appeal to younger children. Such a setting may include (but is not limited to):
Whether the violence in that setting is likely to be disturbing to younger children is determined by elements such as:
This can refer to words or pictures that may be sexually explicit but do not amount to eroticism (a brief glimpse of a lady with bare boobs at a window or a brief glimpse of a naked couple (not showing genitalia) getting into bed). The sexual innuendo must be obviously relating to sexual intercourse/ foreplay and can consist of words and/or activity. This would cover instances in which it is clear that sexual intercourse is taking place but the participants are out of view, under sheets etc. The importance is sexual connotation.
If however, the couple can be seen, even if they are partially clothed, then question 14 ‘sexual intercourse without visible genitals’ will be more appropriate. The test is whether the images could prompt sexual curiosity on behalf of the player.
Sexual posturing means dancing or posing (while remaining clothed) in a manner intended to put across a sexual message or suggestion. This will include such things as pole dancing, lap dancing and even some of the more suggestive music video sequences.
]]>The most common sexual expletives are fuck, cunt, motherfucker and cocksucker although this list is not exhaustive. Blasphemy means irreverent depictions or words concerning sacred matters or religious beliefs (not restricted to the Christian faith). It should be noted that blasphemy is likely to be illegal under national criminal laws and may not be included in the game in any event.
]]>This means where the character gains advantage in the game by the use of tobacco or alcohol. It also includes prominent advertising encouraging the use of tobacco or alcohol products.
This includes the use of illegal drugs in any circumstances.
This is self-explanatory although it must be fairly apparent what the characters are doing. ‘Boobs and bums’ do not count as genital organs and nor does the showing of pubic hair only.
This is where the depiction of nudity (including partial nudity) could result in sexual arousal or is shown as a prelude to human sexual activity. This can include still pictures particularly if they depict an erotic activity. This will not generally include straightforward pin-ups.