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ATVOD have announced a determination that all internet hardcore must be locked behind paywalls, that in practice can only be unlocked by credit cards, even debit cards won't do. I wonder percentage of customers are banned from watching porn because they haven't got a credit card or else would rather not use it).

And as far seriously impairing under 18's, I guess they will all have been seriously impaired already. And will continue to be seriously impaired to the benefit of foreign websites. The 'experts' are hardly convinced that the depiction of anything so natural to every person's life can be considered seriously impairing anyway. And the government seems to have asked ATVOD/Ofcom to bluff it out until more specific legislation can be drawn up. (See morally impaired plot).

And do any of these censors ever consider the serious impairment to our children caused by poverty. They seem so keen to add the mass of expensive state control freakery and yet it is suffocating Britain's ability to earn any money.

Anyway ATVOD have release the news article:

ATVOD Rules That Adult Website Must Block Access To Children

ATVOD publishes determination that adult video on demand website Bootybox.tv had breached statutory rules requiring video on demand providers to ensure that under 18s cannot normally access hardcore pornographic content

The Authority for Television On Demand (ATVOD) has today published its determination that the provider of the online video on demand service Bootybox.tv was in breach of a statutory rule which requires that material which might seriously impair under 18s can only be made available if access is blocked to children.

The Bootybox.tv website offered users access to explicit hardcore porn videos which could be viewed on-demand. The content of the videos was equivalent to that which could only be sold in licensed sex shops if supplied on DVD.

Responding to a complaint from a concerned father, who had discovered that his son had visited the site, ATVOD found that the website broke the statutory rules in two ways. Firstly, it allowed any visitor to the website unrestricted access to a selection of hardcore pornographic video promos/trailers featuring real sex in explicit detail and featured a large still image of explicit sex on the homepage. Secondly, access to the full videos was open to any visitor who paid a fee. As the service accepted payment methods -- such as debit cards and prepaid vouchers -- which can be used by under 18s, ATVOD ruled that the service had also failed to put in place effective access controls in relation to the full videos.

ATVOD followed up its ruling with an Enforcement Notification, requiring the provider of Bootybox.tv to either remove the hardcore porn content from the service or put it all behind effective access controls which will ensure that only adults can see it. The service has now ceased operating.

Speaking today at a conference at the House of Lords on ATVOD's role in child and consumer protection, ATVOD Chief Executive Pete Johnson will say:

UK providers of hardcore pornography on demand must take effective steps to ensure that such material is not accessible to under 18s. Asking visitors to a website to click an 'I am 18' button or enter a date of birth or use a debit card is not sufficient -- if they are going to offer explicit sex material they must know that their customers are 18, just as they would in the 'offline' world.

Last week, ATVOD followed up its ruling with a seminar for providers of adult content on video on demand services. The seminar was designed to ensure that such providers fully understood their obligations under the statutory rules and to make clear that ATVOD would take action in relation to any other providers found to be in breach of the rule.

The Tin Drum is a 1979 West German film by Volker Schlondorff. With David Bennent, Mario Adorf and Angela Winkler. See IMDb

Director's Cut

The Director's Cut was passed 15 uncut for strong sex and sexualised nudity for:

• UK 2011 Arrow Academy (also with Theatrical Version) RB Blu-ray at UK Amazon just released on 30th January 2012

The Director's Cut adds plot details that add depth to the film. It basically restores scenes that were removed when the distributors wanted the film to be shortened for running time reasons. See pictorial version details from movie-censorship.com

Uncut Theatrical Version

Previously the Theatrical Version was passed 15 uncut with previous BBFC cuts waived for:

• UK 2011 Arrow Academy (also with Director's Cut RB Blu-ray) R2 DVD
• UK 2003 Nouveaux Pictures R2 DVD

The cut's were waived when the BBFC decided that the disputed scene did not constitute an indecent image. You do not see Maria's pubes and it seems likely (from other evidence - eg the book about the making of the film) that Scholndorff made her wear masking tape at this point. The offending shot simply shows a young boy pressing his face against a woman's pubic region (not actually her vagina). 

It is  a serious film with little else to comfort paedophiles and expert views agreed that the scene was no more indecent (or vulnerable to misuse) than some of the other scenes in the film, such as the sherbert licking.

Cut Theatrical Version

Before that the Theatrical Version was passed 15 after 19s of BBFC cuts for:

• UK 1997 Disc VHS
• UK 1994 Connoisseur VHS
• UK 1980 cinema release (X Rated)

The BBFC cuts were:

• A shot has been deleted from the scene where the young Oskar is seen burying his head in Maria's pubic area.

Release Details

Arrow Academy presents Volker Schlöndorff s masterpiece in its original theatrical version and the Director's Cut, seen for the first time in the UK after its Cannes Film Festival premiere.

Extras:

• High Definition and Standard Definition presentation of the original theatrical version
• High Definition presentation of the Director s Cut [Blu-ray only]
• New restoration of both the theatrical version and the brand new Director s Cut approved by director Volker Schlöndorff
• Brand new interview with Volker Schlöndorff
• Comprehensive booklet featuring brand new writing on the film by George Lellis and Hans-Bernhard Moeller, authors of Volker Schlondorff's Cinema: Adaptation, Politics and the Movie-appropriate, as well as extracts from Volker Schlöndorff s diary, writing by Jean Claude Carrière and Günter Grass, illustrated with archival stills.
• More extras to be announced!

Following Salo, Ai No Corrida and Cannibal Holocaust, the BBFC has recently granted another notorious banned film, Visions of Ecstasy, an 18 certificate.

The film was outlawed for 23 years in this country for fear of its release breaking UK blasphemy laws, but following the repeal of those laws and the film's subsequent resubmission to the Board, it will finally be issued legally and fully uncut in the UK later this year.

One of the most puzzling things about censorship from the public's point of view is the apparently arbitrary way in which films are cut, banned and un-banned in Britain. For instance, the video nasties of the early 1980s were once the subject of media hysteria and bans, but today almost all of them can be bought entirely legally in your local DVD emporium. What's changed? Why are they no longer a threat to society?

[...er because 25 years is an awfully long time...]

...Read the full article

An Oklahoma lawmaker has introduced a bill in the state legislature that would impose a tax on violent video games. Oklahoma State Representative William Fourkiller introduced bill HB 2696, which would add a 1% tax on games rated Teen, Mature, and Adults Only by the ESRB.

Half of the revenue would be put towards a Childhood Outdoor Education Revolving Fund with the rest going to a Bullying Prevention Revolving Fund. Both of these things would be created as part of the law.

A leading music distributor has closed its Kuwait operations after claiming censorship of albums and artwork had made it impossible to run a full-scale operation.

Music Master, which distributes music from major labels such as Universal, Sony and EMI, said curbs on content from bestselling artists such as Lady Gaga and Beyonce had left it battling to maintain its profit margins.  Music Master is one of the Middle East's largest distributors with operations in the Gulf States, Egypt and Lebanon. The company sells into some 50 stores across Kuwai.

Saeed El Ajou, managing director of the Dubai-based company said:

It comes down to censorship issues. There is too much censorship to justify having a full-scale operation there. If you can't push your top-selling artists then it makes it hard to justify having a full-scale business. The avant-garde artists - Lady Gaga, Beyonce - who are the bestsellers, tend to cause a problem.

It is basically lyrics and artwork and anything that is seen as provocative won't go through. Anything which has any provocative lyrics or any innuendo.

It is purely Kuwait-specific, everywhere else we are very fortunate that there are no censorship issues. Even Saudi has been liberal in what they allow through.

From promotional material:

Nazisploitation! examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as Love Camp 7 and Ilsa, She-Wolf of the SS introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the sleaze film.

More recently, Tarantino's Inglourious Basterds, as well as video games such as Call of Duty: World at War, have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the monstrous feminine or the masculine sadist. Power-hungry scientists seek to clone the Fuhrer, and Nazi zombies rise from the grave.

The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and sleaze visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.

 See review from irishtimes.com, Jan 2012

A key question is how exactly did a society as sexually repressive as Nazi Germany become a signifier of far-out sex and erotic adventurism?

Although this book ultimately struggles to provide a definitive answer, perhaps because the question is unanswerable, it does, over the course of some 300 pages, prove how potent and enduing the conventions of Nazisploitation have become.

Like the Nazi zombie monsters of the recent Norwegian opus Dead Snow, it is a phenomenon that has proved itself all-but unkillable.

Security researchers have discovered that Apple's iPhone keeps a record of where you go -- and saves every detail of it to a secret file on the device which is then copied to the owner's computer when the two are synchronised.

The file contains the latitude and longitude of the phone's recorded coordinates along with a timestamp, meaning that anyone who stole the phone or the computer could discover details about the owner's movements using a simple program.

For some phones, there could be almost a year's worth of data stored, as the recording of data seems to have started with Apple's iOS 4 update to the phone's operating system, released in June 2010.

Apple has made it possible for almost anybody -- a jealous spouse, a private detective -- with access to your phone or computer to get detailed information about where you've been, said Pete Warden, one of the researchers.

Although mobile networks already record phones' locations, it is only available to the police and other recognised organisations following a court order under the Regulation of Investigatory Power Act.

Warden and Allan have set up a web page which answers questions about the file, and created a simple downloadable application to let Apple users check for themselves what location data the phone is retaining.

The Guardian has confirmed that 3G-enabled devices including the iPad also retain the data and copy it to the owner's computer.