From
www.censorship.govt.nz
The New Zealand Classification Office have banned Irreversible from
public screenings but have allowed it to be shown to academics and to film
festival goers.
Their news release reads as follows:
Irreversible is classified as:
Objectionable except if the availability of the
publication is restricted for the purpose of study in a tertiary
institution, or for the purpose of exhibition as part of the 2003 Beck's
Incredible Film Festival or a film festival organised by an incorporated
film society, and in all cases to persons who have attained the age of 18
years.
Irreversible contains scenes
of extreme violence and sexual violence, explicit sexual images and
dialogue, and other problematic elements such as portrayals of drug use and
offensively racist, misogynistic and homophobic representations. Two scenes
are of particular concern for their lengthy and graphic depictions of murder
and rape. The Office has considered the effects of these depictions at
length. The concerns identified include the possibility of emulation, the
disturbing nature of the images, including their potential to increase
women's fears about personal safety, and the possibility that the film's
high level of extreme violence might further desensitise an audience already
inured to media violence.
Excisions have been considered. The Office is grateful for the contributions
on this subject made by the members of the public who viewed the film, and
for the discussion and reflection that produced the suggestions made by
Wellington Independent Rape Crisis. A high proportion of the audience at the
public consultation indicated that they considered the film objectionable
unless the length of the depictions of murder and/or the rape was reduced.
However, a significant number of people thought no excisions should be made.
Although members of the Rape Crisis collective reached a consensus that the
film should not be banned, individual participants had varying views about
whether there should be excisions and what should be excised. The reasons
given by all of those who thought the rape scene should be left intact are
similar: to reduce its length would diminish the impact of a scene that
confronts its audience with the horrific nature of rape. Excisions to make
the scene palatable would destroy its message, and risk altering the
integrity of the film-maker’s vision. Viewers who argued against excisions
also felt that the sickening brutality of the murder is an important part of
the film's message. Suggestions for the removal of specific images have
largely been dealt with in the body of the decision.
The Classification Office has
concluded that excisions are not required. Viewers are almost guaranteed to
find the film shocking and disturbing. However, any audience that perseveres
through the film's initial assault on the senses is likely to have a
thoughtful response to the issues it confronts. The Office has canvassed a
range of public, professional and critical reactions to the film. A clear
majority of these reactions involve serious consideration of the film's
treatment of gender relations and violence. The film, therefore, contributes
to this wider discourse. The film also contributes to critical film debate
on screen representations of violence and sexual violence. It does compel
its audience, and anyone interested in film, to think about the nature of
their reactions to film violence in general and the rape/revenge genre in
particular.
Although the film does not require
excisions, in the Classification Office's view, it does require further
restrictions on its availability and on the terms of its exhibition to
minimise the likelihood of injury to the public good. The likelihood of
injury to the public good if the film is made generally available lies in
the exposure of children and young persons to material that they do not have
the maturity or experience to deal with. A restriction to an adult audience,
for whom the film is clearly intended, prevents this injury.
The likelihood of injury to the
public good arising from the publication's availability to adult viewers has
also been identified. The film is particularly likely to disturb adults if
it is viewed without foreknowledge of the strength of the material. There is
a clear likelihood of injury to the public good if people who have been
subjected to any form of sexual abuse are re-traumatised by the film's
depictions of violence and sexual violence. Prospective viewers need to be
sufficiently informed to be able to choose for themselves whether or not to
view the material. Restricting the availability of the film to film
festivals and tertiary study increases the likelihood that adults will view
the film in an informative context and provides recognised forums for
challenging and controversial films. In the case of Irreversible,
students of film are likely to find much of interest in its innovative
techniques and structure. Viewing in a public forum also facilitates control
over access and addresses the concern that the publication may be edited and
used for other purposes.