it may seem to be artistically bad, or historically or factually untrue, although it is recognised that a crudely made film, lacking good taste and artistry, is more likely to infringe accepted standards than one which is made with integrity and skill.
The application of these general principles is examined in more detail in the following paragraphs.
Incitement to Crime
6. It is generally undesirable to release films which show an excessive amount of calculated and realistic violence or depravity, in ways which would be likely to encourage impressionable youth to identify itself with and to imitate tough or sadistic characters on the
screen.
In addition films are likely to be cut or banned which:
(a) demonstrate any techniques of crime in such a way as to
invite imitation;
(b) are likely to incite any person to crime, violence, or
anti-social behaviour;
(c) deride or otherwise discredit the law and its enforcement,
or significant social institutions;
(d) display in unnecessary detail or at unnecessary length any
form of violence or brutality.
Violence
7.
Real life violence, available quickly on photograph and film and even live by satellite from most parts of the world, can force itself by its very importance into news and current affairs programmes on television and into the picture pages of Hong Kong newspapers. To prohibit the use of the material provided by these technical means could involve arguments about suppression of news and press censor- ship which would be in conflict with Hong Kong's long established traditions of freedom of speech. These factors, however, have made more difficult the problem of maintaining a balance in the showing of contrived violence in entertainment films. This section of the guidance has taken into account these factors while trying to record some thoughts on the portrayal in films of enacted violence and the
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responsibilities of film makers in such matters.
8. Violence, portrayed or implied, has been present in drama since earliest times. It plays a part in certain kinds of sport. In real life it is resorted to daily in every country of the world. And
the natural violence of typhoons, floods and earthquakes frequently eclipses man-made violence by its scale. To exclude all scenes of violence from films would falsify the picture of life presented to the viewers. A film which bore no relation to its audiences' own ex- perience of the world would quickly lose that audience. However, *film producers should portray violence in their films only when
warranted by the needs of the story and then only to the degree, which is justified. They should also ask themselves if the story is really valid material for Hong Kong film makers, particularly when the public are so concerned about the present level of violent crime. Similarly, importers and distributors should judge the films offered by foreign producers by the same criteria. The basic criterion must be-
9.
Whether the use of violence is likely to sharpen or
to blunt the human sensitivities of the viewer.
Emotional arousal as a result of violence increases with the ability of the viewer to identify with the situation. Therefore, con- versely, it decreases with the decline in realism which can reach its ultimate expression in some costume drama, westerns and cartoons. Battle scenes in historic epics or traditional Chinese drama and noisy skirmishes with pirates or Red Indians may be permitted but it is quite another thing to allow scenes of contemporary thugs callously sawing the throat of a young girl or a police constable. However, not too much importance should be attached to this form of "distance" through time and make-believe. Reality can shrink distance, and thrust through any convention. Horror in costume is still horror.
10. A sequence involving violence must arise naturally from the story and not be used simply to bolster a flagging plot or give an added dimension to slender characterisation. Moreover, even when violence forms a legitimate element in a production, the manner in which it is presented must be carefully thought about.
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