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Meet educated, ambitious men serious about love With an average age range of , our guys are in the prime of their careers and ready for a partner who appreciates the need for a work-life balance. Until , no one could appeal the censor's approval of a film, however.
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The words 'undesirable in the public interest' were also rather sweeping, going beyond the concern with 'indecency' in the other censorship legislation. When questioned in the house about this clause, the Minister of Internal Affairs indicated it was specifically included so films could be censored for political reasons, in particular their effect on army recruitment. The Act also made provision for films to be restricted to specified classes of persons. This provision was rarely used before the 's, when age restrictions, such as R16, became common.
This provision was rarely used before the s, when age restrictions, such as R16, became common. In however, a system of recommendary classifications was introduced. A 'U' certificate denoted that a film was suitable for everyone, while an 'A' classification indicated that a film was considered by the censor to be suitable for adults only. It was left to parents to police the censor's recommendations. In the Legislative Council, Parliament's upper house, debated the need to 'strengthen and make more drastic the censorship of cine-films The capture of the film market by Americans, observed the editor of the Manawatu Daily Times, meant that New Zealand youth were seeing life 'through the artificial, spurious and meretricious glare of Broadway, New York' Editorial, 18 October Films became more sophisticated with the arrival of sound, and were thus aimed at a more mature audience.
In , a record films 3. The introduction of the voluntary Hays Code in the American industry in seems to have made films from that country more acceptable to the censor, and bannings were rare by the end of the decade. In New Zealand in a Committee of Inquiry into the Motion Picture Industry, after considering various submissions and evidence on 'the effect of films on juveniles', came down in favour of the status quo.
Its report concluded that 'the censorship of films is at present carried out in a very satisfactory manner', and that it was up to 'parental control' to observe the certificates issued by the censor. Comic books were initially reprints of newspaper comic strips. During the s, these became orientated more towards action, violence, romance and adventure with the likes of Buck Rogers becoming popular. Action and violence became more predominant from , when comic books started to feature original material, thus removing the restrictions imposed by the family orientation of most newspapers.
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Superheroes such as Batman and Superman appeared on the scene In a deputation met with the Ministers of Customs and Education to discuss their concern about comic books. Later that year several comics were banned under the new import licensing regulations, which restricted publications placing 'undue emphasis' on sex, obscenity, horror, crime and cruelty.
In , the Labour Government introduced stringent censorship of newspapers, the post, telegraph, radio, and books. The Director of Publicity, J. Paul, was placed in charge of press censorship. In April he announced that he would suppress all outgoing news 'likely to convey a prejudicial view to overseas countries concerning the National War effort in New Zealand.
Newspapers were forbidden to publish stories on certain topics without his approval, and he could prosecute the publishers of any item he judged prejudicial to the public interest. Internal mail was selectively censored, and there was blanket censorship of all other postal communications. Up to staff were employed to censor letters, including 22 full-time and seven part-time translators.
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Radio scripts were previewed by the censor, but there was no need to censor radio news, which at the time consisted entirely of summarised newspaper stories. A special Customs Department committee was set up to examine books; it banned many political works. Please send second and subsequent copies, or notify in writing within ten days that no second copy will be imported. The Waterfront Strike of saw some of the harshest censorship in New Zealand history. The National Government under Prime Minister Sidney Holland declared a state of emergency, and amendments to legislation made possession of 'seditious' literature literature which criticised the government an imprisonable offence.
Union meetings were also banned and it was an offence to give aid including food to striking wharfies or their families. The new film censorship regulations which were gazetted last June and which came fully into operation in December are of interest to the public generally, but they should be of very particular interest to teachers, parents, and all others who have any influence over film-going by children. Indeed, it is not too much to say that unless this interest is actively shown, New Zealand's present system of film censorship could conceivably collapse.
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For the basis of the system is that primary responsibility for deciding what films should be seen by children is assumed, not by the Government, but by parents and teachers. Probably the most important event in the field of cinematograph films administration was the enactment of the Cinematograph Films act This Act The latter relate mainly to film censorship, theatre licensing, film safety provisions, and the licensing of projectionists. The Act liberalises very substantially the provisions of the law relating to the exhibition of films.
Projection licences, previously required to be held by persons showing films, have been abolished and exhibitors' licences will in future be required only by commercial exhibitors The functions of the Licensing Authority have been extended. Among other things it is empowered to One important consequence of the new Act is that as from 1 October the importation, manufacture, renting, transportation, and exhibition of highly inflammable film will be prohibited, thus eliminating the likelihood of film fires which, for so many years, has been the major hazard associated with the motion picture industry.
Moves towards law reform had already begun in , the Government realising something had to be done about a system which had become rather unwieldy. The Secretary for Justice called together representatives from the book trade libraries, writers, publishers etc to form a law review committee. The committee met four times, the last in April It was originally intended that the law review committee would help draft amendments to existing legislation.
Indeed, in the law was amended to allow the censoring of sound recordings. But eventually it was decided that a new Act was required. The result was a highly innovative piece of legislation which made a dramatic break with the tradition of following overseas trends The main innovation was the establishment of the Indecent Publications Tribunal.
The tribunal became the arbiter of indecency in books, magazines and sound recordings. When introducing the Bill to Parliament, Internal Affairs Minister Alan Highet made it clear that his intention was to liberalise film censorship. He hoped, he said, that New Zealand would 'move towards the maturity of attitude whereby the abolition of censorship for adults can eventually become a reality'. The fundamentals of the Act as they relate to censorship still stand. Out went the references to 'public order and decency' dating from the Act. The censor was required to determine only whether a film 'is or is not likely to be injurious to the public good'.
In determining injuriousness to the public good, the censor was required to take into account a number of specific criteria. These included:. The use of video recordings increased in the s, and debate arose as to whether these should be subject to some form of classification. In response to public concerns, the Video Recordings Act was passed in The Act established the Video Recordings Authority VRA , the decision-making equivalent of the film censor, which it charged with classifying videos of a restricted nature.
The Act required all videos for sale or hire to carry rating or classification labels.
Rating decisions, which were recommendations as to the likely suitable audience for the video, were made by a labelling body, on the basis of classifications by the New Zealand film censor, overseas film censors, or on occasions by viewing it themselves. Any video that was a candidate for restriction, cutting or being banned, was required to be referred to the VRA. In late the Minister of Justice appointed a Committee of Inquiry into Pornography in response to public concern about the classification system.
One of the concerns was that the split in jurisdiction between the film censor on the one hand who continued to classify films intended for public exhibition , and the VRA on the other which classified videos intended for private use resulted in inconsistent decisions. The Committee released its report, based on extensive consultation and investigation, in February Two of its central recommendations were for the censorship of films, videos, and publications to be dealt with by one comprehensive Act of Parliament and that decisions be made by one administering government department.
The Report of the Ministerial Committee of Inquiry made recommendations for change. Based largely on the recommendations of the Ministerial Inquiry into Pornography, New Zealand's current censorship legislation known as the Classification Act was passed in When she was appointed Chief Censor, the opposition women's affairs spokesperson Elizabeth Tennet MP raised fears that Kathryn Paterson would import Australian 'macho cultural imperialism' into New Zealand.
Lois Hutchinson had been head of the Video Recordings Authority. In its initial years a number of pornographic films classified by previous agencies were resubmitted to the new Classification Office to be examined according to the criteria in the Classification Act. A number of these films were banned as a result.