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.