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| Animal cruelty and film classification | Animal cruelty and film classification |
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| Anne Billson (A lot of animals were harmed in the making of these films, G2, 25 May) asserts that the British Board of Film Classification (BBFC) “still cuts non-faked animal abuse, although it is more lenient on arthouse than horror”. The article goes on to cite Sátántangó (1994) and Oldboy (2003) as examples of our alleged leniency towards “arthouse” films, in contrast to our long history of intervention with The Mountain of the Cannibal God (1978) and Cannibal Ferox (1981). I am afraid this statement is incorrect and no preferential treatment is given to “arthouse” films. | Anne Billson (A lot of animals were harmed in the making of these films, G2, 25 May) asserts that the British Board of Film Classification (BBFC) “still cuts non-faked animal abuse, although it is more lenient on arthouse than horror”. The article goes on to cite Sátántangó (1994) and Oldboy (2003) as examples of our alleged leniency towards “arthouse” films, in contrast to our long history of intervention with The Mountain of the Cannibal God (1978) and Cannibal Ferox (1981). I am afraid this statement is incorrect and no preferential treatment is given to “arthouse” films. |
| Sátántangó was only classified uncut after we received detailed assurances from the film-makers regarding how the scenes with the cat were prepared and filmed in such a way as to avoid cruelty to the animal involved. Those assurances were consistent with the onscreen evidence. Oldboy was classified uncut because the Cinematograph Films (Animals) Act 1937, which is mentioned in the article, only applies to “protected animals” as defined by the Animal Welfare Act 2006. Currently invertebrates, such as octopuses, are not covered by the 2006 act and we therefore had no grounds on which to intervene. | Sátántangó was only classified uncut after we received detailed assurances from the film-makers regarding how the scenes with the cat were prepared and filmed in such a way as to avoid cruelty to the animal involved. Those assurances were consistent with the onscreen evidence. Oldboy was classified uncut because the Cinematograph Films (Animals) Act 1937, which is mentioned in the article, only applies to “protected animals” as defined by the Animal Welfare Act 2006. Currently invertebrates, such as octopuses, are not covered by the 2006 act and we therefore had no grounds on which to intervene. |
| By contrast, The Mountain of the Cannibal God and Cannibal Ferox both feature scenes of animal cruelty that are clearly real, that involve vertebrate animals and that certainly appear to have been deliberately orchestrated by the film-makers. Indeed, the makers of those films have confirmed that this is the case.Craig LapperHead of compliance, BBFC | By contrast, The Mountain of the Cannibal God and Cannibal Ferox both feature scenes of animal cruelty that are clearly real, that involve vertebrate animals and that certainly appear to have been deliberately orchestrated by the film-makers. Indeed, the makers of those films have confirmed that this is the case.Craig LapperHead of compliance, BBFC |
| • Join the debate – email guardian.letters@theguardian.com | • Join the debate – email guardian.letters@theguardian.com |
| • Read more Guardian letters – click here to visit gu.com/letters | • Read more Guardian letters – click here to visit gu.com/letters |
| Film | Film |
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| Oldboy | Oldboy |
| Animal welfare | Animal welfare |
| Animals | Animals |
| letters | letters |
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