The Hays Code

Laws which he made regarding film that apply to Dracula:
Murder
Brutal killings are not to be presented in detail
Scenes of passion
In general passion should so be treated that these scenes do not stimulate the lower and baser element. 
The treatment of low, disgusting, unpleasant, though not necessarily evil, subjects should always be subject to the dictates of good taste and a regard for the sensibilities of the audience
 No film or episode may throw ridicule on any religious faith
The treatment of bedrooms must be governed by good taste and delicacy  

Batman using the IMAX

As The Dark Knight continues to break box office records I thought it might be worthwhile to examine one of the key features of the film’s success: IMAX. The film’s IMAX treatment has been getting some press lately, but I’ve read nothing that really situates the technology (or The Dark Knight‘s use of it) with the history of the format. Christopher Nolan’s second Batman film is, indeed, a cinematic achievement for incorporating –for the first time in Hollywood– the IMAX process into the visual structure of the film. Of the many accolades the film will likely continue to garner, this is one worth exploring further. Here are some thoughts on IMAX in The Dark Knight, its relationship to Hollywood, and its future.

The IMAX format originated as an experimental projection system for EXPO ’67 in Montreal, Canada. In 1970 the first IMAX system and film was presented at the Fuji Pavilion at EXPO ’70 in Osaka, Japan. Since then there has been no shortage of discussion in trying to link the large format process with commercial filmmaking. In the early 1980s, as the company expanded its theater and distribution network to include more locations in North America and around the world, technologically conscious filmmakers expressed interest in shooting with the system. Most notably, Francis Coppola, Steven Spielberg, and George Lucas pledged their support of IMAX technology as a viable out-of-home theatrical experience.

Digital Screen Network - UK film council

The average Hollywood blockbuster opens on 300-plus screens across the UK; most independent films, restored classics, documentaries and foreign language films still struggle to reach over ten per cent of those screens.

Digital screening cuts the cost of releasing films (a digital copy costs around one tenth of a 35mm print). That's why UK Film Council (now BFI) and the Arts Council England created the Digital Screen Network – a £12 million investment to equip 240 screens in 210 cinemas across the UK with digital projection technology to give UK audiences much greater choice.
Cinemas in the network have already screened non-mainstream films including Control, This is England, Good Night and Good Luck and the Oscar®-winning The Lives of Others, as well as classics like Meet me in St Loius, The Wizard of Oz and Casablanca.

Digital Screen Network cinemas hosted the UK Film Council and BBC Two's Summer of British Films season - a sell out tour running from July to September 2007 featuring British classics such as Goldfinger, Brief Encounter, Billy Liar, Henry V, The Wicker Man, The Dam Busters and Withnail and I.

This is England restrictions

This is England is rated an 18.
This is due to the violence, language and the whole issue of which the film surrounds there is also a few sex scenes in the film. So therefore the age rating on this film was necessary.
The film is a social realist genre which means that people of a certain age would need to understand the issues if which the film covers and faces, therefore the rating of this film would be needed as a guideline to show which age range would appreciate the film more due to their level of understanding.
Shane meadows wasnt happy with the rating of the film, he petitions to councils on how he wanted the film to be a 15 so that it was aimed at people at the character of Shauns age.

Bullet boy - Public reviews

Bullet Boy isn't as bad as the poster might suggest. Sure, it starts off badly and the first half is very much typical of the genres with the the usual cliches. If I'm being honest, I very nearly turned off when the ever annoying Jaime Winstone appeared but I'm glad I didn't. About half way through, not a second too late mind, Bullet Boy becomes profoundly brilliant. Suddenly there is tension, suspense and most importantly substance. The scene with the two boys playing hide and seek was quite a surprise and a powerful bit of film making. To be fair, the acting and direction are very good from the start and maybe it needed to be run of the mill for the first part just to give the last half the impact it achieves. Credit has to go to the young Luke Fraser and the very naturally talented Ashley Walters who are both very good in the lead roles. Persevere with this one, I believe it's worth it!

Realistic acting and a harsh reflection of the gun culture amongst Britain?s youth in this time. The realism perhaps made the film lack a little excitement and as a result was failry slow moving at times, so although this is more of an average rating, it's acting is perhaps much better than that.


This film overall was roughly rated around 3.7/5 & on rotten tomatoes 78% of the public said they liked it.

Bullet boy marketing campaign

The poster design aims to convey the look, subject and tone of the film, supported by key press quotes, while also foregrounding the major presence of Walters.
The ad campaign, too, aimed for diverse audiences, interested in film and music, urban black and white. The campaign included advertising in all of the national daily newspapers that allocate significant space to film reviews, plus two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations with a concentration on R 'n' B and Garage, the musical forms with which Walters is associated.
Towards the end of its first six months of theatrical release, the film had grossed an impressive £450,000 at the UK box office, most of this achieved in carefully selected urban multiplexes rather than specialized cinemas. It was anticipated that the substantial audiences and awareness generated for the theatrical release would ensure success for the DVD release of the film, six months after the theatrical opening.

Gladiator

Trailer - http://www.youtube.com/watch?v=IvTT29cavKo
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