Helpful hints on monitoring TV and Radio
Extracts from the BBC Producers'
Guidelines, the ITC's Programme Code, the Radio Authority's Programme Code and
the BSC's Code of Guidance follow below.
INTRODUCTION
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onitoring Television and Radio is a vitally important part of
mediawatch-uk's on-going work. Without reliable information it is impossible
for us, as a respected organisation, to respond appropriately to programme
content. The impact of Broadcasting on
Society is such that it calls for very careful scrutiny. Throughout the world
there is widespread concern about the level and cause of social violence and
there is now much research demonstrating a clear connection between violence on
the screen and violence in society. Furthermore, fictional violence on
television, in film and in video is the one contributory factor to social
violence that is most easily remedied.
The importance of monitoring was made clear when our Report "MORE
CRUELTY AND VIOLENCE 2" was published in August 1996. This report,
available from HQ price £3.00, showed that shooting is the most common form of
violence portrayed in films screened on the four terrestrial channels. The
Daily Express in an editorial comment said: "No amount of evidence will shake the certainty of
those who claim there is no connection between violence issuing from TV and
videos and its incidence in real life. But anyone who doubts that we are
influenced by what we see on the small screen must be mystified by the
advertising industry's willingness to spend billions of pounds in the belief
that it can influence the way we think and act.
"Those who do accept the
connection will be disturbed by the National Viewers' and Listeners'
Association's report showing an alarming amount of gun-related violence on the
four main TV channels. Much of it occurs after the 9pm watershed. But given the
easy access of the young to video recorders, we are entitled to wonder just how
effective this traditional watershed now is.
"Indeed, it is more than
likely that the very idea of a watershed encourages the broadcasters to think
that they are free, thereafter, to put on as much violence as they wish. How
wrong they are. Youngsters are not the only people capable of being dangerously
influenced by images coming from the small screen; unbalanced or feeble-minded
adults are every bit as susceptible.
This report suggests that the broadcasters are as far from accepting
their responsibilities as ever."
RESEARCH
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ver the years many studies have been done into the link between screen
violence and aggressive behaviour.
Professor Rowell Huesmann, of the University of Michigan, said that he
is in no doubt that violence on television influenced behaviour. "....
What we have is a situation in which some of the most popular programmes
children watch are filled with violence so they see more violence, far more
violence, than there is in everyday life" ..... Fictional screen violence,
he said, "raises the level of belief in the appropriateness of aggressive
and violent behaviour, it raises people's beliefs that this is a mean world, a
violent world, and it just makes aggression more acceptable". Panorama
27/2/95
On 7th February 1996 the Daily Mail reported on the results of a new
study by the University of California. The report concluded that television
violence encourages viewers to carry out similar acts. The report also found
that viewers become desensitised to the effects of violence yet more afraid of
being attacked. Researchers looked at 2,500 hours of television and found that
73% of those depicted as committing violent acts go unpunished. When violence
is presented without punishment, viewers are more likely to learn the lesson
that violence is successful. The study found that 47% of violence showed no
harm to victims and 58% no pain. 25% of violent incidents depicted handguns
which can inspire aggressive thoughts and behaviour. Only 4% of the programmes
emphasised non-violent solutions to problems.
VIDEO VIOLENCE
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fter months of leaks and speculation the report on video violence,
commissioned by the Home Office, following the murder of Jamie Bulger, was
published in January 1998. Dr Kevin Browne and Amanda Pennell, of the
University of Birmingham, concluded that violent offenders are more likely to
be adversely influenced by viewing violence portrayed in some video recordings
than non-violent offenders and non-offenders.
The research did not set out to prove whether there was a causal link
between video violence and criminal behaviour although much of the Television
News coverage gave the opposite impression and said that no conclusive proof of
such a link had been found.
Dr Browne said that the
"home environment" is a key factor in understanding what may
influence people to be violent.
Children and young people whose home environment is violent are more
likely to be violent and aggressive in later life. The findings suggested that offending behaviour and having a
preference for violent films may be modified by personality and moral values.
HOW TO MONITOR
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he main purpose of monitoring is
to examine how programmes measure up to the statutory requirements as set out
in the Broadcasting Act 1990, the BBC's Royal Charter 1996, the Independent
Television Commission's Programme Code, the BBC's Producers’ Guidelines and the
Broadcasting Standards Commission's Code of Practice.
When monitoring the following information is essential: the DATE, the
TIME when the programme began and ended, the TITLE of the programme and the TV
or radio CHANNEL. When monitoring programmes on Independent Television it is
helpful to note the companies and/or products and/or services advertised at the
beginning, during and at the end of the programme.
Monitoring Violence
What occurred? Was it a shooting or incident involving a firearm or some
other weapon? What sort of firearm or weapon? Was it a violent assault? Who was
involved - a man or woman or child? Was the violence explicit (on screen) or
implied (off screen)? Did the camera linger on the victim or glamorise the
assailant? Was it essential to the plot or was it gratuitous? Were the
assailants "good" characters, e.g. police officers or "bad"
characters e.g. criminals? Were any special effects used to emphasise the
violence, e.g. slow motion? Did the violence involve mass killings and/or
spectacular destruction of property? Was the violence in a modern or historical
setting? Was the violence within a family home environment or in a public house
or some other place? Were animals involved?
Monitoring Language
List the words or phrases used and note whether the language was used in
ordinary conversation or at moments of stress or tension. Indicate who says
them and to whom. For example, a man to a woman or a woman to a child or a
child to an adult. Or were women and/or children present? Was the language used
in a public place or in a home environment or, for example, in a school or a
public place? Were the characters "good" e.g. police officer or
"bad" e.g. criminal?
Monitoring Sexual Conduct
How explicit were the scenes? Was it close up or distant? Were children
seen to be present or watching? Were the scenes used simply to bolster a weak
story or plot? Was the sexual conduct with consent or enforced e.g. rape? Were
the characters married or single? Were the characters married but being
unfaithful to their spouses? Was any cruelty involved? Did it involve children?
Were pornographic films or nudity or sado-masochistic practices shown within
the film or programme?
Monitoring Drug or Alcohol Consumption
What age were the people involved? Male or female? Which characters
drink and how
much - a little, regularly, often? Are they "good" characters or
"bad" characters? Are the characters driving after drinking? Are
illegal drugs shown being used either by injection or by swallowing or sniffing?
Were children involved in any way?
PROGRAMME REGULATION - BBC
The Royal Charter of the BBC, renewed in 1996, states in Section 5
'Programme Standards' that the Corporation shall do all that it can to secure
that all programmes broadcast or transmitted by or on behalf of or under
licence from the Corporation as part of the Home Service:
a) provide a properly balanced service consisting of a wide range of
subject matters;
b) serve the tastes and needs of different audiences and, in particular,
in order to show concern for the young, are placed at appropriate times;
c) treat controversial subjects with due accuracy and impartiality....;
d) do not include anything which offends against good taste or decency
or is likely to encourage or incite to crime or lead to disorder or to be
offensive to public feeling.
In Section 4 'Objectives for the Home Services' the Charter states that
the Corporation must report in reasonable detail on its performance in the
Annual Report. A number of requirements for the Annual Report are made
including:
d) the subject matter and the handling of complaints from such audiences
indicating the proportion which were upheld;
f) the number of complaints made to and upheld by the Broadcasting
Complaints Commission and the Broadcasting Standards Council in respect of
programmes broadcast or transmitted by or on behalf of the Corporation.
The BBC also issues its own Producer's Guidelines which were published
in November 1996 and revised in February 2000. These Guidelines deal with a
wide range of subject matter including Impartiality and Accuracy, Taste and
Decency, Violence, Imitative and Anti-Social Behaviour, Crime, Relations with
the Police, Politics and Politicians, Relations with the Public and Press.
The following are a few extracts from Section 6: Taste and Decency and
Section 7: Violence.
1 GENERAL
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he BBC is required in the Agreement associated with its Charter not to
broadcast programmes which "include anything which offends against good
tsate and decency or is likely to encourage or incite to crime or lead to
disorder, or be offensive to public feeling". The BBC seeks to apply this
requirement to all its broadcasting, programmes and services, whether for
domestic or international audiences.
The BBC's responsibility is to remain in touch with the views of its
diverse audiences. These views will differ both domestically and
internationally. People of different ages, convictions and cultures nay have
sharply different expectations.
The right to challenge audience expectations in surprising and
innovative ways, when circumstances justify, must also be safeguarded. Comedy,
drama, and the arts will sometimes seek to question existing assumptions about
taste. Programmes which question these assumptions should seek to tell the
truth about the human ezxperience, including its darker side, but should not
set out to demean, brutalise or celebrate cruelty.
Parents with children in the home are likely to be particularly
concerned about what appears on the television. This applies especially when
families are watching television before the Watershed. Most people expect to be
given clear signals about what they will see and hear, especially when new
series or formats appear.
Context is everything: scheduling can be vital to audiences accepting difficult
material. It is vital to consider the expectations that audiences have of
particular programmes and timeslots.
The widespread availability of material in other media, or on other
broadcasters is not reason enough to judge it acceptable. What is commonplace
in cinema, video, computer programs or on the Internet will not necessarily be
appropriate for BBC television or radio.
Programme makers should remember that they are a minority, but one with
considerable influence; they should be aware of and respect their audiences'
diverse views on what causes offence.
2 TELEVISION: The Watershed
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he BBC has a well-established policy of making 9pm the pivotal point of
the evening's television, a Watershed before which, except in exceptional
circumstances, all programmes on our domestic channels should be suitable for a
general audience including children. The earlier in the evening a programme is
placed, the more suitable it is likely to be for children to watch on their
own.
The Watershed reminds broadcasters that particular care should be taken
over inclusion of explicit scenes of sex and violence, and the use of strong
language.
Particular care should be taken in the period immediately after the
watershed. There should be a gradual; transition towards more adult material
and sudden changes in tone should be avoided but, where unavoidable, they must
be clearly signposted. Adult material should never be positioned close to the
Watershed simply to attract audiences in a sensationalist way. Material which
is particularly adult in tone should be scheduled at an appropriate time, where
necessary some time after the Watershed.
The Watershed is a commonly held convention in British television, and
all BBC public service and commercial television services aimed primarily at
the United Kingdom should observe it.
Scheduling can be vital to public acceptance of challenging material.
Whether or not scenes of violence, sex, great distress or strong language cause
offence to an audience can depend not just on editorial or dramatic context,
but on sensitive scheduling decisions. A good rule of thumb is to avoid taking
the audience by surprise. Announcements and warnings can play an important part
in this.
Click here for ‘A Chip Too
Far’ setting out mediawatch-uk’s position on the Watershed (blue text)
4 SIGNPOSTS
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he BBC has a responsibility to ensure that audiences have enough
information on which to judge if a programme is likely to be one they want to
watch or listen to, or if it is suitable for their children to see and hear.
The Watershed is one clear and widely understood indicator for television, but
there are instances when additional information is necessary.
4.1 Trails on television and radio
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he Guidelines also apply to trails on both media. Care should be taken
over scheduling trails of programmes that are unsuitable for children. For
example, television programmes may be appropriately scheduled after the
Watershed; the related trails, on the other hand, may well be broadcast
earlier, when children may be watching. In such circumstances the content of
the trail should be appropriate for children or family-viewing. However, such a
trail should clearly signpost the nature of the programme.
No trail for a programme of a post-Watershed nature should be scheduled
next to a programme specifically targeted at children.
8 LANGUAGE
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trong language is a subject of deep concern to many people and is one of
the most frequent causes of complaint. Offence is more likely to be caused if
audiences are taken by surprise when strong language occurs without warning, is
contrary to the expectations of the programme's audience or feels gratuitous.
In the right context strong language may cause little offence and in some
situations it may be wholly justified in the interests of authenticity. Common
sense should enable producers to identify which words are questionable and when
the use of them might be warranted. Programme makers should be aware that terms
of racist abuse are now considered to be offensive by all sections of the
audience. Sexual swearwords and abusive names relating to disabilities can also
cause great offence. They should ask themselves constantly whether the use of
strong language will simply alienate a large part of the audience. The
inclusion of strong language is a matter for judgement by individual producers,
in consultation with Heads of Department or Commissioning Executives when
necessary. The most offensive language should not be used on television before
9pm, and after 9pm it should be only following careful consideration.
Certain, mainly four-letter, words must not be used on television, radio
or online without advance reference to and approval from Channel and Network
Controllers of the domestic services, in the World Service the relevant
Regional Head, or in Worldwide Television, the Director of Broadcasting.
Click here for ‘The Daily
Grunt’
10 SEX
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he portrayal and depiction of sex will always be a part of drama and
factual programmes because of the important part it plays in most people's
emotions and experience. In this, as in most areas of taste, public attitudes
have shifted over time. Broadly, audiences in the United Kingdom have become
more liberal in their acceptance of sexually explicit material while attitudes
around the world are mixed. Even so programme-makers broadcasting to diverse
audiences in their homes, are not as free as film-makers, theatre dramatists
and novelists whose audiences are self- selected.
Adults who accept frank portrayal of sex and sexuality in other formats
or on television in the later evening, often demand different standards at
other times. Those watching with children before 9pm expect programme makers to
observe the Watershed by exercising appropriate restraint. Context, the
intention of the production, the expectations of the audience, the Watershed
and signposting are all vital.
We use the Watershed to try to ensure that adults view what is intended
for adults. Sexual activity is linked to moral decisions, therefore its
portrayal should not be separated from an acknowledgement of the moral process.
Drama and factual programmes have a part to play in illuminating the
darker side of human nature. Sometimes themes and images are explored which may
shock. The tests to apply are intention, (are we illuminating?), and judgement
(does our portrayal demean or degrade?. We must draw the line well short of
anything that might be labelled obscene or pornographic. For example, real, as
opposed to simulated, sexual intercourse should not be shown.
We try to operate by certain basic rules that apply to the depiction of
all sexual activity:
* programmes should be adequately and clearly signposted
* scenes should have a clear and legitimate editorial purpose and not be
gratuitous
* sexually explicit material will not appear before the Watershed, nor
at inappropriate times too close to the Watershed
* there are limits to explicit portrayal at any time.
* material involving sexual violence or sadism will be treated with
particular care and circumspection.
Sexual scenes that will disturb or shock should occur only for good
dramatic reasons. In particular, viewers remain concerned about the depiction
of sexual violence against women and sadistic sexual material. Such material
demands careful consultation within departments and with Channel Controllers
or, at their request, Chief Adviser Editorial Policy.
Attitudes to homosexuality differ both domestically and internationally.
Research suggests that in Britain audiences are becoming more tolerant of the
portrayal and discussion of homosexuality, and while some international
audiences are more liberal, some are more conservative. Nevertheless, programme
makers should be mindful that a significant part of the audience is critical of
any depiction of homosexual acts.
10.2 Children
Explicit sexual conduct between adults and children should not be
depicted. The Protection of Children Act 1978 makes it an offence to take an
indecent photograph of a child under the age of sixteen or to involve a child
below that age in a photograph which is itself indecent even if the child's
role is not.
11 COMEDY AND ENTERTAINMENT
Comedy enjoys special licence. It flourishes on departures from the
norm, and exploiting people's misfortunes. Even so it must be well judged, not
gratuitous, unnecessarily cruel or designed to harm or humiliate a person or
group. General relaxation about sexual matters does not justify crudity.
VIOLENCE
1 GENERAL
It is clear that screen violence
does upset many people and, in excess, it can be accused of desensitising
viewers. Audiences remain concerned about the portrayal of violence, especially
violence they perceive as realistic and therefore true to life or violence that
is close to their own experience.
Most audiences expect any violent scenes in news, factual programmes and
television drama to serve a moral or a social point. In feature films and
occasional comedy, there is some acceptance that certain types of stylised
screen violence can be entertaining.
Editors and producers can become very involved in the material they work
with and it is always necessary to step back and think about its impact. It is
important, for example, to consider:
* whether a violent incident is appropriate within its context
* the impact of violent episodes on the viewer at home seeing them for
the first time
* the cumulative effect if programmes containing violence are scheduled
close together, or the programme is to be repeated frequently.
3. VIOLENCE IN FICTION
3.1 Adult Drama
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rama must be able to explore important issues truthfully, and violence
is part of both nature and society. However, where a theme is likely to involve
scenes of strong violence, they should be identified in advance by the producer
and director so that potential problems can be resolved at the script stage.
There should be consultations within departments, and if necessary with Channel
Controllers or, at their request, Chief Adviser Editorial Policy.
Programme makers should ask whether the violent incident and the detail
shown are essential to the story or whether it has been included simply for its
own sake. The use of violence should never be gratuitous.
Serious drama demands more of audiences; they in turn respect the
challenge of a violent or distressing scene if they are convinced of its
dramatic purpose.
Programme makers should take particular care when violence involves one
or more of the following:
* situations close to the audiences own experience, or which they
perceive as being true to life
* domestic and sexual violence
* scenes where women and children are portrayed as victims
* scenes of extreme or sustained violence of any sort
* the context appearing to encourage approval of violence
* suicide or attempted suicide
The consequences of violent acts should not be overlooked, otherwise
there is danger of seeming to sanitise them. For example, a blow to the head
must not, in a realistic setting, be seen as a trivial matter without serious
consequences.
It is important to take particular care when dealing with weapons that
might encourage imitation, especially the use of easily accessible weapons such
as knives, hammers or pokers, or methods that might suggest how violence can be
made more effective.
Violence is not always physical. Verbal aggression can be profoundly
disturbing, particularly when the words used have sexual power. Care must be
taken to ensure suitability for the intended time of transmission, particularly
if audiences are likely to include children.
3.2 Acquired Programmes
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any of the general points made about BBC drama apply to acquired
programmes. The content of films or drama not originally commissioned by the
BBC cannot be controlled in the same way, but nonetheless it must conform to
BBC editorial standards. For detailed guidance see section 12 "Acquired
Programmes" in Chapter 6: Taste and Decency. (This section is reproduced
below)
Some feature films, whether made in Britain or abroad, are suitable only
for adult audiences. The British Board of Film Classification categorises every
film for cinema or video release in the UK. While these classifications offer
some guidance to their suitability for showing on BBC Television, they cannot
be accepted without
question. Tastes change and films once regarded as wholly unsuitable may become
acceptable; but some films may never be acceptable on television. Special care
must be taken over the acquisition of films which have an '18' certificate.
Acquired programmes need to be double checked in detail prior to
transmission to identify any need to edit, to place the programme after the
Watershed, or to issue a warning in the billings, and/or on air.
Some viewers object strongly to any editing of feature films. The BBC
will try to ensure that editing interferes as little as possible with the
original intentions of the filmmaker. In addition, after the Watershed on BBC2,
films which have received a certification for showing in cinemas or on home
video will normally be shown unedited.
3.3 Children and Violence
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here is evidence that violence in circumstances resembling real life is
more upsetting than violence in a fantasy setting. Children may feel
particularly distressed when violence occurs in a familiar setting or between
familiar figures. For instance,
violence in the home between characters resembling their parents, or towards
characters or pets, with which the child can sympathise, should be avoided.
Children can also be particularly distressed by violence involving animals.
The dangers of imitation are particularly real among children. Extra
care should be taken, for example, over karate chops or the use of weapons that
are easily accessible such as ropes or knives or bottles. Criminal acts, if
shown, should not become lessons in "how to do it". It is also
important not to conceal the consequences of real-life violence.
3.4 Violence Against Women
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iolence against women in drama should not encourage the notion that
women are to be exploited or degraded through violence or are, other than
exceptionally, willing victims of violence. Rape is nothing but a tragedy for
its victim and it would be wrong to suggest otherwise.
Violence against women should not be portrayed as an erotic experience.
Where in rare cases, a link between violence and sexual gratification is
explored as a serious theme in drama, any depiction must be justified by its
context and not simply designed to arouse.
Similar sensitivities apply to violence against children.
Click here
for ‘Promoting a Culture of Violence 2’
4 SCHEDULING, WARNINGS AND THE WATERSHED
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hen factual programmes or drama are to include violence scenes, consider
using warnings to prevent the audience from being taken unawares. This is a key
to avoiding widespread offence. Remember that the nature of the programme may
be signposted through trails, publicity, promotional material and listings.
These are not, however, a substitute for clear and unambiguous on-air warnings.
If a programme is tough to watch, viewers should be told. Programme departments
should alert the channel controllers and presentation departments in advance
when they judge a warning is required so that the overall amount of violence in
the schedule can be kept under review.
On television, the Watershed is the pivotal point in the evening
schedule. Particular care should therefore be given to avoid the depiction of
unsuitable violence in the early evening including trails for post-Watershed
programmes.
The BBC's Producer's Guidelines, revised in February 2000 are available
from: BBC Publications, Broadcasting House, LONDON, W1A 1AA. No price or ISBN
is shown.
PROGRAMME REGULATION - THE ITC
Reproduced below are the Foreword and some sections of the ITC Programme
Code revised and effective from April 2001
FOREWORD
The ITC Programme Code sets out the editorial standards which audiences
are
entitled to expect from commercial television services in the UK. It aims to
ensure that requirements covering programme content which Parliament stipulated
in the 1990 and 1996 Broadcasting Acts are met, while allowing for and
encouraging creativity, development and innovation.
All commercial television operators in the UK have to have a licence from the
ITC. A condition of every licence is compliance with the Programme Code.
The Code applies to all licensed programme services, not just the free to air
channels. It also covers certain foreign satellite programmes included in local
delivery services. In some cases, the Code makes different provision for
different types of service.
It is the responsibility of the licence holders to ensure their programmes and
services operate within the framework of the Code. They should have in place
procedures for ensuring that programme makers can seek guidance on the Code
within the company at a senior level. The ITC itself monitors programme output
on transmission and also receives complaints from members of the public. The
ITC's programme of research and analysis also tracks changing public
expectations and responses to help with the regulatory work of interpreting and
applying the Code.
Where the Code has been breached, the ITC may use sanctions against licence
holders, including financial penalties, to support the Code and the standards
audiences can expect. Licensees are obliged to report to the ITC on how they
deal with complaints from the public which they receive directly themselves.
Provision of effective consumer services in respect of complaints from the
public about content is also a condition of all ITC licences. Where a complaint
is about a matter of substance relating to the Broadcasting Act, the complainant
must always be informed of other avenues available to pursue the matter. The
ITC takes all complaints seriously and, where it feels a complaint to be
justified, will take action with the licensee concerned.
The Legal Background to the
Code
The Programme Code gives effect to some requirements directly stipulated
by the Broadcasting Act 1990 such as due impartiality, the portrayal of
violence, appeals for donations and the need for due responsibility in
religious programmes (see Appendix 1).
The ITC has reviewed the Code in the light of the provisions of the Human
Rights Act 1998, effective from 2 October 2000. Relevant provisions of the
European Convention on Human Rights are set out in Section 2. However, it is
emphasised that all sections of the Code have been reviewed to ensure
compliance with the Act and the Convention.
The Code also gives effect in the UK to a number of requirements relating to
television programmes in the European Union Directive on Television
Broadcasting and Council of Europe Convention on Transfrontier Television (see
Appendix 4).
In drawing up the Code, the ITC has taken into account the requirement 'to
reflect the general effect' of the Broadcasting Standards Commission (BSC)'s
Code under the Broadcasting Act 1996.
General Guidance on the Code
The ITC is willing to give general guidance on the interpretation of
this Code. However, licensees have the responsibility of ensuring that any
programmes they transmit comply with the Code. Before granting a licence, the
ITC needs evidence that the licence holder has sufficient resources and
expertise to ensure compliance. Programme makers, independent producers or
others supplying programme material should seek guidance on specific proposals
from the licensee.
No Code of this kind can be all-inclusive. The Code is not a complete guide to
good practice in every situation, nor does it say everything that can be said
on the topics it covers. Licensees should therefore aim to operate within the
spirit of the Code as well as the strict letter of it. The Code is subject to
interpretation in the light of changing circumstances and on some matters it
may be necessary to introduce fresh requirements or advice from time to time.
The Code plays a vital part in the maintenance of consistently good, reliable
standards in the enormous range of programming available to viewers of
commercial television in the UK. Through the ITC as regulator, the Code
provides an essential link between viewers and competing broadcasters,
supporting consumer confidence in television as a whole, and underpinning
viewers' trust in and enjoyment of a wide variety of services.
SECTION ONE
Family Viewing Policy, Offence to Good Taste and Decency, Portrayal of Violence
and Respect for Human Dignity
1.1 General requirement
Section 6(1) of the Broadcasting Act 1990 requires that the ITC does all it can
to secure that every licensed service includes nothing in its programmes which
offends against good taste or decency or is likely to encourage or incite to
crime or lead to disorder or be offensive to public feeling.
Section 7(1)(a) requires the ITC to draw up a code giving guidance as to the
rules to be observed with respect to the showing of violence, or the inclusion
of sounds suggestive of violence, in programmes included in licensed services,
particularly when large numbers of children and young people may be expected to
be watching the programmes. Programme services are free to deal appropriately
with all elements of the human experience but should avoid gratuitous offence by
providing information and guidance to audiences, bearing in mind the
expectations of those watching. Decisions on programme content will vary
according to the time of day, nature of the channel and the likely audience.
This is true not only in respect of children but for audiences in general.
Viewers are more likely to experience distress or offence as a result of strong
material if they are taken unawares.
1.2 Family Viewing Policy and the Watershed
Material unsuitable for children must not be transmitted at times when large
numbers of children may be expected to be watching.
However the ITC accepts that, even though some children are always likely to be
present in the audience, the likelihood varies according to the time, subject
matter and channel. The majority of homes do not contain children and viewers
have a right to expect a range of subject matter.
The necessary compromise is embodied in the ITC's Family Viewing Policy which
assumes a progressive decline throughout the evening in the proportion of
children viewing, matched by a progression towards material more suitable for
adults.
Within the progression, 9pm is normally fixed as the time up to which licensees
are responsible for ensuring that nothing is shown that is unsuitable for
children. The earlier in the evening a programme is shown, the greater the care
required.
Not all daytime or early evening programming will be suitable for very young
children. Licensees should provide sufficient information, in terms of regular
scheduling patterns and on-air advice, to assist parents to make viewing
choices.
After the watershed, and until 5.30am, material more suitable for an adult
audience may be shown. However, care should be taken in the period immediately
after the watershed. There should be a gradual transition and it may be that a
programme will be acceptable at 10.30pm for example that would not be suitable
at 9pm. Decisions will also depend on the nature of the channel and the
audience it attracts. Material which is particularly adult in tone should be
scheduled appropriately and clearly signposted.
Particular care should be taken over programmes of special appeal to children
which may start before the watershed but run beyond that time; and with
programming during school holidays, when children will be part of the audience
throughout the day and may also go to bed later. Dates of school holidays vary
across the UK.
There is evidence that children find violence which resembles real life more
upsetting than violence in a fantasy context but any sequence which might
unsettle younger children needs special care. Particular distress can be caused
where such violence occurs in a domestic setting and scenes of serious domestic
conflict whether or not accompanied by physical violence or threat, can cause
fear and insecurity. News bulletins should take account of the Family Viewing
Policy (see 1.7(ii)).
While it is accepted that stylised violence can be entertaining and often
humorous in comedy and in animation, more serious representation, for example,
in children's drama, should always be editorially justified and should ensure
that the consequences of violence are treated appropriately.
Bad language (including profanity) should not be used in programmes made for
children (see 1.5).
Unless otherwise stated, any reference in the Code to 'children' means those
aged 15 or under. A reference to 'young persons' means those aged 16 or 17 use,
in a manner likely to cause serious injury, of knives and other offensive
weapons, articles or substances. Certain household goods, such as microwaves
and tumble-dryers readily accessible to children, can cause harm if misused and
care should be taken with the portrayal of any such use. Certain locations,
such as railway lines, can raise similar concerns.
Films or programmes including hanging or preparations for hanging capable of
easy imitation should not be scheduled to start during family viewing time
unless there are strong grounds for believing that imitation is unlikely (e.g.
a historic setting). Special care is required with material including 'comic'
treatments which may lead children to fail to recognise potentially dangerous
play especially where there is no serious outcome.
Smoking and drinking should be avoided in children's programmes, and included
only when there is a strong editorial case for their inclusion. In other
programmes likely to be widely seen by children and young people,
smoking and drinking should be included only where context or dramatic veracity
requires it. In such programmes smoking should not be prominently featured as a
normal and attractive activity. The same concerns apply and particular care is
needed with any programme dealing with or involving representations of drug
abuse (see also 5.8 and 5.9).
1.3 Information, Advice and Warnings
Labelling, classification details and other information announcements have a
helpful role in enabling viewers to make appropriate choices at all times. They
are particularly important on free-to-air, general and basic tier
channels.
Licensees should consider whether any elements of programming might disturb
viewers, in particular younger children. Appropriate information should be
provided at the start of any programme, or news report, which might disturb
younger children.
Warnings about issues of taste, decency and potential offence are unlikely to
be appropriate before the watershed (although exceptional circumstances may
arise during news reports).
Later in the evening, clear and specific warnings should be employed where
there is the likelihood that some viewers may find the programme disturbing or
offensive. This does not diminish the licensees' responsibility for sensitive
scheduling of programmes to reduce the risk of offence to the minimum. See also
1.4(i).
1.3(i) Warnings in Relation to Programmes Likely to Harm Children
European Council's Television Without Frontiers Directive 1997 (Article 22.1)
requires that broadcasters take "appropriate measures to ensure that
television broadcasts… do not include any programmes which might seriously impair
the physical, mental or moral development of minors, in particular programmes
that involve pornography or gratuitous violence". The legislation also
requires broadcasters to include either acoustic warnings before, or visual
symbols throughout, to alert viewers to other programmes, broadcast in
unencoded form, that are likely to impair the physical, mental or moral
development of minors. Such programmes, even broadcast late at night, must
therefore, at a minimum, be preceded by verbal warnings to this effect.
Warnings should be included, for example, where programmes include the
strongest acceptable sexual material, violence or themes (such as child abuse
or the use of drugs) treated in a way likely to be harmful to children.
1.4 Feature Films and Other Acquired Material
Where a British Board of Film Classification (BBFC) Classification exists for
the version of a film or programme proposed for transmission, it should be used
as a guide to scheduling. A BBFC video classification, rather than the cinema
classification, should always be the guide where one exists.
The following basic rules apply except where satisfactory security mechanisms
are imposed: (see 1.4(ii)), when rules (a), (b) and (c) do not apply).
a) No '12' rated version should normally start before 8pm on any service.
b) No '15' rated version should normally start before 9pm (or 8pm on premium
rate subscription services, contents permitting).
c) No '18' rated version should start before 10pm on any service. This rule may
be relaxed if the classification was made more than 10 years ago and the film
is now clearly suitable for earlier transmission.
d) No 'R18' version should be transmitted at any time.
e) No version refused a BBFC certification should be transmitted at any time.
These are minimum requirements. In particular, many '15' rated films will not
be suitable for as early as 8pm even on a subscription channel if, for example,
they include graphic scenes of drug taking, sexual intercourse or higher than
usual levels of violence. Where no BBFC certification exists and the licensee
relies on this Code for guidance, special consideration should be given to the
interests of children.
Questions arising from particular BBFC decisions should be taken up with the
BBFC but the final responsibility must always rest with the licensee. Licensees
transmitting to countries other than the UK should take local time as a guide,
using the most westerly time zone in the transmission area.
1.4(i) Premium Subscription Services
The decision to subscribe to a specialist channel available only to those who
have specifically chosen it, carries with it an acceptance of a greater share
of responsibility by parents for what is viewed and the watershed on such
channels is set at 8pm rather than 9pm. Any channel which has not been
individually purchased in this way must comply with the 9pm watershed.
Services which are available only to adults who have specifically chosen them
may, between the hours of 10pm and 5.30am, include material of a more adult
kind than would be acceptable at the same time on a more broadly available
service. Arrangements for subscriptions to such services, including access by
the night, must include measures that ensure that the subscriber is an adult.
No 'R18' or version refused a BBFC certification may be shown at any time.
1.4(ii) Pay Per View Services
Where security mechanisms, such as a PIN system or equivalent, satisfactorily
restrict access to films or programmes solely to those authorised to view,
watershed rules may be waived. The mandatory security mechanism and the
safeguards that it provides for children must be clearly explained to all
subscribers. It should normally be supported by a detailed billing system that
enables subscribers to check all viewing and, in particular, out-of-watershed
viewing. In addition operators are expected to implement a suitable film
classification system, or equivalent, and to provide any additional information
about programme content and reasons for any restrictions that might assist
parents and other adults to judge the suitability of material for children.
Pay per view channels may only show films and programmes that are acceptable on
other ITC licensed services and should exercise caution in the scheduling of
controversial material which may be considered unsuitable for day-time showing.
In particular, 'adult' sex material may not be shown outside the hours set
aside for 'more adult material' (10pm to 5.30am). Further guidance is available
on request.
1.4(iii) Trailers and Programme Promotions
Viewers do not choose to see promotional material, so special care is required
in scheduling. All trailers and promotions shown before the watershed must
comply with Family Viewing Policy.
1.5 Bad Language
There is no absolute ban on the use of bad language. But many people are
offended, some of them deeply, by the use of bad language, including expletives
with a religious (and not only Christian) association. Offence is most likely
if the language is contrary to audience expectation. Bad language must be
defensible in terms of context and scheduling with warnings where
appropriate. The most offensive
language must not be used before the watershed and bad language of any sort
must not be a frequent feature before then. (See also Section 1.8) Bad language (including profanity), should
not be used in programmes specially designed for children.
1.6 Sex and Nudity
Similar considerations apply. Much great fiction and drama have been concerned
with love and passion which can shock and disturb. Popular entertainment and
comedy have always relied to some extent on sexualinnuendo and suggestive
behaviour but gratuitous offence should be avoided.
Careful consideration should be given to nudity before the watershed but some
nudity may be justifiable in a non-sexual and relevant context.
Representations of sexual intercourse should not occur before the watershed
unless there is a serious educational purpose. Any portrayal of sexual
behaviour must be defensible in context. If included before the watershed it
must be appropriately limited and inexplicit.
Sex scenes of a more adult nature, which are more graphic and prolonged, should
be limited to much later in the schedule. (See also Section 1.3(i))
1.7 Violence
The real world contains violence in many forms. It is reasonable for television
to reflect this but it is clear that the portrayal of violence, whether
physical, verbal or psychological, can upset, disturb and offend and can be
accused of desensitising viewers, of making them unduly fearful or of encouraging
imitation. These are legitimate public concerns requiring careful consideration
whenever violence, real or simulated, is to be shown.The treatment of violence
must always be appropriate to the context, scheduling, channel and audience
expectations.
a) Offensive violence
At the simplest level, some portrayed acts of violence may go beyond the bounds
of what is tolerable in that they could be classified as material which, in the
words of the Broadcasting Act, is 'likely to be offensive to public feeling'.
Licensees must consider the editorial justification carefully, including the
context of the violence portrayed, the time of the broadcast, any warning
provided and the likely audience. There can be no defence of violence shown or
heard for its own sake, or for the gratuitous presentation of sadistic
practices. Research indicates that viewers are most likely to be offended by
explicit images of distress and injury, and of blood, particularly if they
occur suddenly or unexpectedly.
b) Psychological Harm to Young and Vulnerable Viewers
There is portrayed violence which is potentially so disturbing that it might be
psychologically harmful, particularly for young or emotionally insecure
viewers. Research evidence shows that the socially or emotionally insecure
individual, particularly if adolescent, is especially vulnerable. The
susceptibilities of this minority must be balanced against the rights of the
more robust majority. Responsible scheduling and appropriate content advice to
viewers are both particularly relevant here.
c) Imitable violence
Violence portrayed on television may be imitated in real life. Portrayals of
dangerous behaviour, capable of easy imitation, must always be justified by the
dramatic and editorial requirements of the programme. Unfamiliar methods of
inflicting pain and injury capable of easy imitation should not be included.
d) Cumulative effects of violence
The regular and recurrent spectacle of violence may lead viewers to become less
sensitive to violence or to overestimate the level of violence in the real
world. Licensees must take into account the potential cumulative effect of
violent material.
e) Sexual violence
Research indicates that there is particular danger in representations of
violence in a sexual context. Scenes of rape, or other non-consensual sex,
especially where there is graphic physical detail or the action is to any
degree prolonged, require great care. Graphic portrayal of violent sexual
behaviour, or violence in a sexual context, is justifiable only very exceptionally.
Further guidance is offered in Appendix 2 (Statement of Common Principles on
the Portrayal of Violence on Television).
1.7(i) Suicide and Suicide Attempts: the Risk of Imitation
Common sense dictates that the subject of suicide be handled with care and
discretion, particularly in popular drama serials. There should be no more
detailed demonstration of the means or method of suicide than is justified by
the context, scheduling and likely audience for the programme. Where
appropriate, professional advice or guidance should be sought from voluntary
organisations such as the Samaritans.
1.7(ii) Violence in News and other Programmes
a) News and current affairs programmes are subject, like any other programming,
to the requirements of Family Viewing Policy. This does not restrict the range
of subjects covered in any news bulletin or programme or imply that some news
events may not be properly covered before the watershed; it does require that
all material is presented in a manner that takes account of the likely
composition of the audience, and that appropriate warnings are given. Care
should be taken about the frequency with which scenes of violence are repeated
in succeeding news bulletins, particularly when significant numbers of children
could be watching.
b) Special consideration should be given to the possible effect of coverage of
violent events upon local viewers in the United Kingdom (or other countries
where the programme is seen) for whom it might cause particular anxiety.
Nothing shown should encourage or incite to crime or lead to
disorder.
c) Whether in news, current affairs or other programmes, actuality footage of
executions or other scenes in which people are clearly seen being killed or
about to die require exceptional justification.
See also Section 5.7 of this Code (presence of television cameras at
demonstrations and scenes of public disturbance).
1.8 Respect for Human Dignity and Treatment of Minorities
Viewers have a right to expect that licensed services will reflect their responsibility
to preserve human dignity, as far as possible, in respect of both individuals
(see Section 2) and individuals as members of groups.
Individuals should not be exploited needlessly or caused unnecessary distress,
nor should the audience be made to feel mere voyeurs of others' distress.
In particular, consideration should be given to the treatment of vulnerable
minorities, bearing in mind the likely effects of both misrepresentation and
under-representation.
1.8(i) Ethnic Minorities
No programme should be transmitted which is intended to stir up racial hatred
or, taking into account the circumstances, is likely to do so: where
appropriate, schedules should give a fair reflection of the contribution of all
races to society.
Racist terms should be avoided. Insensitive comments or stereotyped portrayal
may cause offence. Their inclusion is acceptable only where it can be justified
within the context of the programme.
Careful account should be taken of the possible effect upon the racial minority
concerned, as well as the population as a whole, and of the changes in public
attitudes to what is, and is not, acceptable.
1.8(ii) People with Disabilities
The same concerns apply. There is a danger of offence in the use of humour
based on physical, mental or sensory disability, even where no malice is
present. Reference to disability should be included only where necessary to the
context and patronising expressions replaced by neutral terms. It should be
possible for people with disabilities to be included in programmes of all
kinds.
More information on the portrayal of people with disabilities is available from
the Broadcasters' Disability Network, Nutmeg House, 60 Gainsford Street, London
SE1 2NY (tel. 020 7403 3020).
1.8(iii) Other Minorities
Similar considerations apply to the treatment of other, less obvious and
vulnerable, minorities including older people, homosexuals, and minority
religious faiths or language groups.
1.9 Hypnotism
Care needs to be taken to minimise the risk of hypnosis being induced in
susceptible viewers. In particular, the hypnotist must not be shown performing
straight to camera. Licensees should refer to the Hypnotism Act 1952 (Appendix
4).
1.10 The Occult and 'Psychic' Practices
Actual demonstrations of exorcisms and occult practices such as those involving
supposed contact with spirits or the dead, are not acceptable in factual
programming except in the context of a legitimate investigation.
They should not, in any case, be shown before the watershed.
Horoscopes, palmistry and similar 'psychic' practices are only acceptable where
they are presented as entertainment or are the subject of legitimate
investigation. They should not include specific advice to particular
contributors or viewers about health or medical matters or about personal
finance. They should not be included at times when large numbers of children
are expected to be watching.
Fiction programmes containing 'psychic' phenomena should not normally be
scheduled before the watershed, although a fantasy setting, for example, may
justify such scheduling.
1.11 Recorded Programmes
Programmes not used immediately should be checked before transmission to ensure
that any content is not rendered tasteless or offensive by intervening events,
such as death, injury or other misfortune.
1.12 Images of Very Brief Duration
1.12(i) General requirements
Section 6(1)(e) of the Broadcasting Act 1990 requires that the ITC do all it
can to secure that 'programmes do not include any technical device which, by
using images of very brief duration or by any other means, exploits the
possibility of conveying a message to, or otherwise influencing the minds of,
persons watching the programmes without their being aware, or fully aware, of
what has occurred'.
1.12(ii) Programme practice
Images of very brief duration are unlikely to be in conflict with the Act
unless there is some intention of covertly influencing the minds of viewers,
for example for a commercial or political purpose. A very brief image used
in context and as part of a straightforward message will probably not offend
against the Act. In such circumstances the viewer will know exactly what the
message is that is being conveyed and how it is intended to influence their
mind.
Where, however, a very brief image is used out of context and relates to
something entirely different from what precedes or follows it, the duration of
the image should be sufficiently long to be clearly discernible and
understandable.
1.12(iii) Use of flashing images and regular patterns
Flashing lights and certain types of regular visual patterns can cause problems
for some viewers who have photo?sensitive epilepsy. People below the age of 20
years are the most susceptible group and many are unaware of their
susceptibility. Care must be taken to minimise these risks in all programmes,
but especially those where young people are likely to be watching in
significant numbers. This might mean cutting or amending certain scenes or
sequences or rejecting entirely some material, such as a pop video.
At times difficulties in minimising the effects may be encountered, for example
with some types of live coverage, such as a news report or acquired material,
such as a film. Where there is likely to be significant risk, viewers should be
given an appropriate warning at the start of the programme or programme item.
Licensees should refer to ITC Guidance Note 'Flashing Images and Regular
Patterns in Television' which outlines the technical parameters for minimising
risk levels.
SECTION TWO
Privacy, Gathering of Information, etc.
2.1 General
The principles of the right to respect for private and family life and the
right to freedom of expression are reflected in Article 8 and Article 10 of the
European Convention on Human Rights, incorporated into UK law in the
Human Rights Act 1998. As a public authority, the ITC must seek to ensure that
the guidance given throughout this Code is consistent with Convention
principles.
Article 8
Right to respect for private and family life
1. Everyone has the right to respect for his private and family life, his home
and his correspondence.
2. There shall be no interference by a public authority with the exercise of
this right except such as is in accordance with the law and is necessary in a
democratic society in the interests of national security, public safety or the
economic well-being of the country, for the prevention of disorder or crime,
for the protection of health or morals, or for the protection of the rights and
freedoms of others.
Article 10
Freedom of expression
1. Everyone has the right to freedom of expression. This right shall include
freedom to hold opinions and to receive and impart information and ideas
without interference by public authority and regardless of frontiers. This
Article shall not prevent States from requiring the licensing of broadcasting,
television or cinema enterprises.
2. The exercise of these freedoms, since it carries with it duties and
responsibilities, may be subject to such formalities, conditions, restrictions
or penalties as are prescribed by law and are necessary in a democratic
society, in the interests of national security, territorial integrity or public
safety, for the prevention of disorder or crime, for the protection of health
or morals, for the protection of the reputation or rights of others, for
preventing the disclosure of information received in confidence, or for
maintaining the authority and impartiality of the judiciary.
Licensees may make programmes about any issues they choose. However, the method
of treatment is limited by the obligations of fairness and a respect for truth,
two qualities which are essential to all factually based programmes.
2.1(i) The Public Interest
There will be occasions when an individual's right to respect for private and
family life, or a licensee's right to freedom of expression, may be restricted
in the public interest. Any act that relies on a defence of public interest
must be proportional to the actual interest served. This will be a balancing
exercise which will depend on the individual circumstances of each case. Where,
for example, there is a significant intrusion into an individual's private
affairs, particularly where that individual is innocent of any offence and/or
where there is a significant risk of distress, an important public interest is
likely to be required.
Examples of a public interest which may justify an intrusion into an
individual's privacy include: (i) detecting or exposing crime or a serious
misdemeanour; (ii) protecting public health or safety; (iii) preventing the
public from being misled by some statement or action of an individual or
organisation; (iv) exposing significant incompetence in public office. Where
freedom of expression is to be restricted, examples of public interest include
ensuring the fair conduct of judicial proceedings or protecting public morals.
The new ITC Programme Code, issued in April 2001, is available free of
charge from: The ITC, 33 Foley Street, London, W1P 7LB.
We recommend study of the full Code which covers other matters on Impartiality,
Party Political and Parliamentary Broadcasting, Terrorism, Crime, Anti Social
Behaviour, Charitable Appeals, Religion etc.
PROGRAMME STANDARDS: THE RADIO AUTHORITY
Section 1
Taste, Decency, Offence to Public Feeling and the Portrayal of Violence.
1.2 Protection of Younger Listeners
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roper regard for taste and decency, and the manner of portrayal of
violence, are clearly an area where the position of the younger listeners needs
to be considered. It is not one that lends itself to the laying down of hard
and fast rules. But licensees must be vigilant, and sensitive to the problems
and have regard to the following:
(c) When programming is specifically directed at a young audience ...
care must be taken to avoid content such as: strong language; explicit violent
or sexual topics in a frank manner; musical items with violent or sexually
explicit lyrics; fictional material with strong language or violent scenarios.
1.3 Language
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he gratuitous use of offensive language, including blasphemy must be
avoided. Bad language and blasphemy must not be used in programmes aimed at
young listeners or when audience research indicates they might be expected to
be listening in significant numbers.
There is no absolute ban on the use of bad language but its use must be
defensible in terms of context and authenticity...
1.4 Sexual Matters
(a) The portrayal of, or the allusion to, sexual behaviour must be
defensible in context and presented with tact and discretion. Smut and crudity must
be avoided.
(b) No portrayal or description of sexual activity between humans and
animals or between adults and children may be transmitted and these can be
referred to in programmes only after consultation at senior radio management
level.
(c) Gratuitous sexual stereotyping must be avoided.
1.6 Portrayal of Violence
(a) Violence must never be glorified or applauded.
(b) The degree of violence portrayed or described must be essential to
the integrity and completeness of the item.
(c) Violence must not be described solely for its own sake, or for the
gratuitous exploitation of sadistic or other perverted practices. In
particular, descriptions of sexual violence should be treated with extreme
care.
(d) Methods of inflicting pain or injury, particularly if ingenious or
unfamiliar or capable of easy imitation, must not be described or portrayed
without the most careful consideration.
(f) the cumulative effects of violence must be avoided. What might be
tolerable in a single programme may add up to an unacceptable level over time.
The portrayal of violence, whether physical, verbal or psychological, is
an area of public concern ... Violence portrayed or described on radio may be
imitated in real life. Regular and recurrent descriptions of violence might
lead listeners to think such behaviour has been given the stamp of approval.
Once violence is thus accepted and tolerated people may, it is believed, tend
to become more callous and indifferent to the suffering imposed on the victims
of violence.
Some violence is potentially so disturbing that it might be
psychologically harmful, particularly for young or emotionally insecure
listeners.
1.7 Behaviour Easily Imitated by Children
The portrayal or description of dangerous behaviour easily imitated by
children, including the use of offensive weapons or articles readily accessible
to them, must not be broadcast when children are likely to be listening.
The new Radio Authority Programme Code, issued in March 1998, is
available free of charge from The Radio Authority, Holbrook House, 14 Queen
Street, Holborn, LONDON, WC2B 5DG.
We recommend study of the full Programme Code which covers other matters
on Accuracy and Misleadingness, Privacy, Crime, Terrorism and Anti-Social
Behaviour, Other Legal Matters, Religious and other Spiritual or Ethereal
Matters, Public Accountability and Programme Sponsorship Code.
PROGRAMME REGULATION - BROADCASTING
STANDARDS COMMISSION
The BSC Code of Practice (third edition). The following are a few extracts showing page numbers:
p5 Through its codes, the Commission seeks to inform
and sustain the debate about issues of fairness and standards in broadcasting.
Within the areas of the Commission's particular responsibilities, these codes
express the considerations which the Commission believes should be kept in the
mind of everyone concerned with standards in broadcasting, whether as
providers, citizens or consumers. They will be kept under review in light of
the Commission's experience and research as well as further changes in the
broadcasting landscape.
p22 SCHEDULING
There is an implied contract between the viewer, the listener and the
broadcaster about the terms of admission to the home. The most frequent reason
for viewers or listeners finding a particular item offensive is that it flouts
their expectation of that contract - expectations about what sort of material
should be broadcast at a certain time of day, on a particular channel and
within a certain type of programme, or indeed whether it should be broadcast at
all.
p24 TASTE AND DECENCY
Challenging or deliberately flouting the boundaries of taste in drama and
comedy is a time-honoured tradition going back to Shakespeare, Chaucer and
beyond. The tradition has a rightful place in broadcasting. Comedy has a
special freedom but this does not give unlimited licence to be crude or cruel,
or to humiliate individuals or groups gratuitously.
Matters of taste shift quite quickly and vary from one age or social
group to another. They often relate to subjects which can cause embarrassment
or upset. Matters of decency, however, are based on deeper, more fundamental
values and emotions: the respect owed to the bereaved at funerals is one
example. Offence to decency has the potential to cause more significant
difficulty, and should thus be given the highest priority when considering the
suitability of items for broadcast.
p25 Swearing
Research has indicated that audiences consider the use of bad language to be
unacceptable in certain circumstances and its repetitive use was disliked by
86% of respondents. Significantly, the level of protest is reduced when the
audience accepts the relevance of the language used to the situation portrayed.
In recent research, 63% of those questioned favoured the use of a later
transmission time rather than editing, particularly for films containing bad
language.
p26 The Commission does not lay down rigid rules or a
list of banned words. Common sense and a study of the relevant research should
indicate where the areas of difficulty lie. However, words and phrases which
have sexual origins or applications cause particular offence. For example, the
Commission would expect the abusive use of
any of the synonyms for the female genitalia to have been referred to
the most senior levels of management.
The Commission considers there is hardly ever any justification for the
use on television of offensive language before the Watershed. This rule should
be broken very rarely and never without discussion at the most senior levels within
the broadcasting organisations.
Offences against Religious Sensibilities
The casual use of names, words or symbols regarded as sacred by
different sets of believers can cause hurt as well as offence. People of all
faiths are distressed by affronts to their sacred words. This should not be
underestimated. For example, while many may not themselves be offended, a
majority would not wish to cause offence to others by the casual use of the
Christian holy names as expletives. There is particular offence taken by the
linking of the names with sexual swear words. Often, the offence is not
intended, but arises from an unawareness of the weight attached to words or
symbols which have religious connotations for some of the audience.
p27 Drugs
Drugs provide a legitimate subject matter for both factual and fictional
programmes, but nothing should be done to promote their irresponsible or
illegal use.
Alcohol and Smoking
Given the health and other risks, neither smoking nor the abuse of alcohol
should be glamorised, especially in programmes directed mainly towards the
young.
People with Disabilities or Mental Health Problems
Over six million people in the UK have some form of physical disability or
mental health problem. Programmes should seek to avoid anything which might
encourage prejudice.
p28 Race
Almost invariably, the use of derogatory terms in speaking of men and women
from particular ethnic backgrounds and nations gives offence and should be
avoided unless the context warrants it. Great distinctions exist between many
people within single countries, let alone whole continents, and a broad
community of interest or a common identity cannot always be assumed. The
presentation of minority groups as an undifferentiated mass, rather than a
collection of individuals with limited interest in common, should be
discouraged.
p29 Crime
Programmes should neither glamorise nor condone criminals or their actions as
crime is rarely without victims.
p30 PORTRAYAL OF VIOLENCE
There are some significant concerns about the portrayal of violence which
broadcasters need to take into consideration. These include the fear that
repeated exposure to violence desensitises audiences, making them apathetic
towards increases in actual violence or indifferent to the plight of victims or
the copycat effect - outbreaks of violence similar to those shown on the screen
- which could be a consequence of showing it in detail. Viewers might identify
screen violence with the reality of their own lives and become reasonably
fearful, for instance, being scared to go out at night alone. It could also
encourage the view that violence is acceptable as the means of resolving
disputes.
In scheduling a programme containing violence, especially where it is
violence with which viewers may identify closely, broadcasters should consider
the programmes placed each side of it, as well as the time of transmission. A
sequence of programmes containing violence can rarely be justified.
p32 Violence in Drama
Violence is a legitimate ingredient of drama, but should seldom be an end in
itself. The context of the violence, and the audience's ability to appreciate
the conventions within which the drama is being played out, will be key.
Research indicates that respondents are most shocked when violence occurs in
locations that seem familiar to them, and with which they can identify,
particularly, if that violence 'erupts' and cannot be foreseen. Violence in
situations which are more distant, and which are further from their own
reality, are less likely to impact; whereas the apparently gratuitous intrusion
of violence into locations regarded as places of safety can be deeply shocking.
p33 But the serious consequences of violence should
not be glossed over - in real life a blow to the head which fells a man is
unlikely to be cured by a ritual head-shaking as the victim swiftly gets to his
feet.
p34 Imitation
On television the use of weapons, particularly knives or other objects readily
available in the home, should be considered carefully. Care should also be
taken not to give detailed instructions on how to make explosives.
Explicit hanging scenes should never be shown before or close to the
Watershed; storylines involving the detailed depiction of suicide should be
considered at senior levels within the broadcasting organisation.
p35 PORTRAYAL OF SEXUAL CONDUCT
Research shows that audiences in Britain have generally become more liberal and
relaxed about the portrayal of sex, but broadcasters cannot assume a universal
climate of tolerance towards sexually explicit material. Offence may be given
by making public and explicit what many people regard as private and exclusive.
Audiences should not be reduced to voyeurs, nor the participants to
objects. The youth and physical attractiveness of the participants are no
justification for explicitness.
Fiction
Broadcasters must ensure that actual sexual intercourse is not transmitted. The
broadcast of sexually explicit scenes before the Watershed should always be a
matter for judgment at the most senior levels within the broadcasting organisations.
p36 Children
Explicit sexual acts between adults and children should not be transmitted.
Animals
Explicit sexual conduct between humans and animals should never be shown and
should be referred to in programmes only after consultations at a senior level.
p37 Nudity
There is now a greater relaxation about the human body. The appearance of the
nude human body can have a justifiable and powerful dramatic effect and be a
legitimate element in a programme, provided it does not exploit the nude person.
But it can also be disturbing and cause offence, especially where it appears
that there is no clear editorial rationale. The justification must come from
the intention and the merit of the individual programme itself.
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