The SVoD giant will produce age ratings using an automated rating algorithm and “manual tagging system”, with the ratings audited by the BBFC.
Netflix will provide age ratings for all series and films via a newly-struck partnership with the British Board of Film Classification (BBFC).
The SVoD giant will produce age ratings for content using an automated rating algorithm and “manual tagging system”, with the ratings audited by the BBFC.
The move, to be unveiled today (14 March) at a Dcms-organised event in Elstree Studios, is designed to ensure ratings of all content on Netflix is consistent with the BBFC’s guidelines.
Netflix will provide age ratings for all series and films via a newly-struck partnership with the British Board of Film Classification (BBFC).
The SVoD giant will produce age ratings for content using an automated rating algorithm and “manual tagging system”, with the ratings audited by the BBFC.
The move, to be unveiled today (14 March) at a Dcms-organised event in Elstree Studios, is designed to ensure ratings of all content on Netflix is consistent with the BBFC’s guidelines.
- 3/14/2019
- by Max Goldbart Broadcast
- ScreenDaily
Netflix is adding age ratings to more content on its U.K. service after partnering with the British Board of Film Classification. The goal of the new collaboration “is to work towards 100% coverage of BBFC age ratings across the platform,” the ratings board said.
Online services in the U.K. are not required to submit content to the board for evaluation, but Netflix already does so in many instances. About 60% of the Svod platform’s content in the U.K. is BBFC-classified. “Lost in Space,” for example, is rated 12 (the minimum suitable age), “Stranger Things” 15, and “Sex Education” 18. Acquired films generally already have had a rating applied.
The aim now is to have ratings on all Netflix’s content in the U.K., in part under an arrangement whereby Netflix will tag the content itself in line with the BBFC’s guidelines, which were recently overhauled, notably for graphic sexual content.
Online services in the U.K. are not required to submit content to the board for evaluation, but Netflix already does so in many instances. About 60% of the Svod platform’s content in the U.K. is BBFC-classified. “Lost in Space,” for example, is rated 12 (the minimum suitable age), “Stranger Things” 15, and “Sex Education” 18. Acquired films generally already have had a rating applied.
The aim now is to have ratings on all Netflix’s content in the U.K., in part under an arrangement whereby Netflix will tag the content itself in line with the BBFC’s guidelines, which were recently overhauled, notably for graphic sexual content.
- 3/14/2019
- by Stewart Clarke
- Variety Film + TV
Spending on film and high-end TV production in the U.K. topped £3.1 billion ($4.1 billion) in 2018, the second-highest figure on record, but down from 2017’s record-breaking £3.3 billion, according to figures released Friday by the British Film Institute.
Spending on high-end TV was up 4% from 2017 at £1.2 billion, the highest since tax breaks were introduced for big-budget shows in 2013. In the inward investment column, film, TV, and co-production spend was £2.4 billion, with film accounting for £1.6 billion of the total and TV the remainder.
The British industry is bracing for the impact of the U.K. leaving the European Union, which is scheduled for March 29. Amid the ongoing Brexit confusion, the country remains a production hot spot, with multiple new studio projects in the works.
The BFI data confirm that 2018 was a banner year for cinema admissions and box office in the U.K., notably at a moment when these figures were falling elsewhere in Europe.
Spending on high-end TV was up 4% from 2017 at £1.2 billion, the highest since tax breaks were introduced for big-budget shows in 2013. In the inward investment column, film, TV, and co-production spend was £2.4 billion, with film accounting for £1.6 billion of the total and TV the remainder.
The British industry is bracing for the impact of the U.K. leaving the European Union, which is scheduled for March 29. Amid the ongoing Brexit confusion, the country remains a production hot spot, with multiple new studio projects in the works.
The BFI data confirm that 2018 was a banner year for cinema admissions and box office in the U.K., notably at a moment when these figures were falling elsewhere in Europe.
- 2/1/2019
- by Stewart Clarke
- Variety Film + TV
The British government has announced plans for a £60 million ($78.3 million) fund to boost production of new children’s television content. The Contestable Fund, which was announced by British culture minister Jeremy Wright on Friday, aims to halt the decline of U.K.-produced children’s content and reverse a growing trend towards airing repeats.
The initiative will offer additional support for programming made in indigenous British languages such as Welsh and Gaelic; a multi-million-pound offering for commercial radio; and a special fund to help fledgling production companies develop and pitch original concepts.
“Young people in the U.K. deserve high-quality content that entertains, informs and reflects their experiences growing up across the country today,” said Margot James, the government’s minister for the digital sector. “This innovative project is an instrumental part of our support for the U.K.’s vibrant media sector and will help it continue to go from strength to strength.
The initiative will offer additional support for programming made in indigenous British languages such as Welsh and Gaelic; a multi-million-pound offering for commercial radio; and a special fund to help fledgling production companies develop and pitch original concepts.
“Young people in the U.K. deserve high-quality content that entertains, informs and reflects their experiences growing up across the country today,” said Margot James, the government’s minister for the digital sector. “This innovative project is an instrumental part of our support for the U.K.’s vibrant media sector and will help it continue to go from strength to strength.
- 10/18/2018
- by Robert Mitchell
- Variety Film + TV
The British Film Institute outlined a range of proposals Wednesday to boost the U.K. independent film business, including a new development fund that has already attracted the interest of Amazon, a new investment scheme, and an effort to engage younger moviegoers. Also included in a detailed report are recommendations to the British government for boosting the film industry, which continues to grapple with seismic industry and consumer changes.
Lionsgate U.K. CEO Zygi Kamasa chaired the BFI Commission into independent film. “One of the things I wanted to steer the commission into focusing on was [producing] something that was collaborative, industry-led and actually coming up with schemes and ideas that we could work together on…rather than just saying, ‘We need more money,’” Kamasa said.
The report details four key proposals for industry: maximizing the value of rights; growing younger audiences through special screenings and a better understanding of how they engage with U.
Lionsgate U.K. CEO Zygi Kamasa chaired the BFI Commission into independent film. “One of the things I wanted to steer the commission into focusing on was [producing] something that was collaborative, industry-led and actually coming up with schemes and ideas that we could work together on…rather than just saying, ‘We need more money,’” Kamasa said.
The report details four key proposals for industry: maximizing the value of rights; growing younger audiences through special screenings and a better understanding of how they engage with U.
- 7/18/2018
- by Stewart Clarke
- Variety Film + TV
Broadcasters including A+E Networks, Discovery, Disney, Fox and Turner have called for “urgent clarity” over the British government’s Brexit strategy.
The Commercial Broadcasters Association (Coba), the trade body that includes these networks and is chaired by Animal Planet Global President Susanna Dinnage, has called for clarity to ensure that groups can stay in the UK and prevent billions of dollars in broadcasting revenue from moving to the continent.
International broadcasters invest more than £1B (Us$1.3B) a year in the UK in the form of content, jobs, overheads and infrastructure and the UK is Europe’s leading international broadcasting centre, home to 650 international channels.
However, a number of international broadcasters have started to restructure and are eyeing move significant parts of their business to Europe if Britain leaves the European Union.
The body is now waiting for the outcome of the government’s white paper, which is due to...
The Commercial Broadcasters Association (Coba), the trade body that includes these networks and is chaired by Animal Planet Global President Susanna Dinnage, has called for clarity to ensure that groups can stay in the UK and prevent billions of dollars in broadcasting revenue from moving to the continent.
International broadcasters invest more than £1B (Us$1.3B) a year in the UK in the form of content, jobs, overheads and infrastructure and the UK is Europe’s leading international broadcasting centre, home to 650 international channels.
However, a number of international broadcasters have started to restructure and are eyeing move significant parts of their business to Europe if Britain leaves the European Union.
The body is now waiting for the outcome of the government’s white paper, which is due to...
- 7/10/2018
- by Peter White
- Deadline Film + TV
Benedict Cumberbatch will star in a Channel 4 TV drama about the Brexit vote in the U.K., which will be timed to air as Britain leaves the European Union next March. Cumberbatch will play Dominic Cummings, the leading strategist and campaign director of the Vote Leave movement, which sought to persuade British voters to opt for exiting the EU.
“I am particularly pleased to commission James Graham’s hard-hitting and compulsive drama on how the Brexit vote was won with Benedict Cumberbatch in a new role,” Channel 4’s new programming boss, Ian Katz, said at a Channel 4 event in London, Wednesday. “It will be broadcast just ahead of our formal [exit] from the EU in March, assuming that we actually get around to leaving.”
Graham wrote the stage play “The Vote,” which was set on the night of the general election vote and featured an ensemble cast including Mark Gatiss and Judi Dench.
“I am particularly pleased to commission James Graham’s hard-hitting and compulsive drama on how the Brexit vote was won with Benedict Cumberbatch in a new role,” Channel 4’s new programming boss, Ian Katz, said at a Channel 4 event in London, Wednesday. “It will be broadcast just ahead of our formal [exit] from the EU in March, assuming that we actually get around to leaving.”
Graham wrote the stage play “The Vote,” which was set on the night of the general election vote and featured an ensemble cast including Mark Gatiss and Judi Dench.
- 5/16/2018
- by Stewart Clarke
- Variety Film + TV
Britain’s minister for the digital and creative industries said Friday that Brexit would not have a significant impact on the local film industry and that the U.K. would remain a desirable destination for filmmakers.
“I don’t want to be complacent, but I don’t think Brexit will have a significant effect on the film industry,” government minister Margot James told Variety. “It won’t affect the studio space; it won’t affect the tax reliefs.”
In Cannes to promote Britain at the film festival, James said the U.K.’s appeal would remain in spite of its planned withdrawal from the European Union next year. “We are the destination for filmmakers from around the world because we’ve got key attributes: fantastic production facilities [with] the best studios in the world, we have the skilled people, and we also have a very good and attractive tax framework. No other country has all three.
“I don’t want to be complacent, but I don’t think Brexit will have a significant effect on the film industry,” government minister Margot James told Variety. “It won’t affect the studio space; it won’t affect the tax reliefs.”
In Cannes to promote Britain at the film festival, James said the U.K.’s appeal would remain in spite of its planned withdrawal from the European Union next year. “We are the destination for filmmakers from around the world because we’ve got key attributes: fantastic production facilities [with] the best studios in the world, we have the skilled people, and we also have a very good and attractive tax framework. No other country has all three.
- 5/11/2018
- by Stewart Clarke
- Variety Film + TV
Six BFI Network talent executives to be appointed in regions.
Source: BFI
BFI
The BFI is to increase the role of the Film Audience Network (Fan) by devolving some talent scouting and funding decisions to local organisations.
The BFI has earmarked more than £4m of National Lottery funding per year until 2022 for exhibition strand Fan to foster greater engagement with independent and British film.
In a new move, National Lottery funding will see six BFI Network talent executives appointed in the English regional ‘Hubs’ in a bid to give greater support to new talent where they live. The Hubs are expected to launch their recruitment drives for these positions in coming weeks.
With increased decision-making responsibility, Hubs will now invest in local film festivals as well as back audience development activity, with a focus on reaching 16-30 year olds.
The BFI has restructured the boundaries of Fan’s English Hubs and changed some of the organisations heading-up the Hubs:...
Source: BFI
BFI
The BFI is to increase the role of the Film Audience Network (Fan) by devolving some talent scouting and funding decisions to local organisations.
The BFI has earmarked more than £4m of National Lottery funding per year until 2022 for exhibition strand Fan to foster greater engagement with independent and British film.
In a new move, National Lottery funding will see six BFI Network talent executives appointed in the English regional ‘Hubs’ in a bid to give greater support to new talent where they live. The Hubs are expected to launch their recruitment drives for these positions in coming weeks.
With increased decision-making responsibility, Hubs will now invest in local film festivals as well as back audience development activity, with a focus on reaching 16-30 year olds.
The BFI has restructured the boundaries of Fan’s English Hubs and changed some of the organisations heading-up the Hubs:...
- 1/25/2018
- by Andreas Wiseman
- ScreenDaily
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.