Brief Comparison (The United States, The United

Kingdom, Singapore)

Source: Collated from various sources

1. Pay television / Subscription television / Premium television

It refers to subscription-based television services, usually provided by both
analog and digital cable and satellite television, but also increasingly via
digital terrestrial and internet television.
Media: Cable, Satellite, Internet.
Example: Indovision, Netflix.
2. Multiple-system operator (MSO)
An operator of multiple cable or direct-broadcast satellite television systems.
Media: Cable, Satellite.
Example: Indovision, Transvision, Time Warner Cable.

3. Internet television (or online television)

Is the digital distribution of television content via the public Internet (which
also carries other types of data), as opposed to dedicated terrestrial
television, cable television, and satellite television systems which only carry
video. It is also sometimes called web television, though this phrase is also
used to describe the genre of TV shows broadcast only online.
4. IPTV (Internet Protocol Television)
Instead of receiving TV programs as broadcast signals that enter their home
from a rooftop antenna, satellite dish, or fiber-optic cable, we get them
streamed through their Internet connection via Internet Protocol (IP).
Media: Internet
Example: BBC iPlayer.
There are three types of IPTV
a. Video on Demand (VOD)
With a service such as Netflix (an online movie website), we select a TV
program or movie we want to watch from a wide range, pay our money, and
watch it there and then.
b. Time-Shifted IPTV
A different kind of IPTV is being offered by some of the world's more
enterprising TV broadcasters. In the UK, the BBC (British Broadcasting
Corporation) makes its last week's programs available online using a webbased streaming video player called the BBC iPlayer. This kind of service is
sometimes called time-shifted IPTV, because we can watch ordinary,
scheduled broadcasts at a time that's convenient for us.
c. Live IPTV
The third kind of IPTV involves broadcasting live TV programs across the
Internet as they are being watched.
All three forms of IPTV can work either using our computer and an ordinary
web browser or (for much better quality) a set-top box and an ordinary
digital TV. All three can be delivered either over the public Internet or
through a managed, private network that works in essentially the same way
(for example, from our telephone and Internet service provider to our home
entirely through the provider's network).

5. Over-The-Top content (OTT)

Any app or service that provides a product over the Internet and bypasses
traditional distribution. It refers to delivery of audio, video, and other media
over the Internet without the involvement of a multiple-system operator in
the control or distribution of the content.
Media: Video, Audio, Text, Other Media.
Example: Netflix, Whatsapp, Twitter, Youtube.

Country

OTT Video Service

Conventional TV Service

Regulated by Federal Communication Commission (FCC)

Home base of Netflix and Hulu
Censorship is rarely found
(further reading:
http://www.lehigh.edu/~infirst/moviecensorship.html)
United States

Category: Online Video

Distributor (OVD)
Less regulated because it
only offers video on
demand service

United
Kingdom

Film censorship-related activity done by NGO called British

Board of Film Classification (BBFC) (make age
classification and suggestion to edit/cut scenes)
(further info: http://www.bbfc.co.uk/about-bbfc/who-weare)
BBFC also covers OTT service like Netflix or Amazon Video
and planning to also cover user-generated sites like
youtube
(source: http://www.independent.co.uk/news/media/bbfchead-says-uks-long-standing-film-classification-systemwill-last-for-decades-a6889836.html)
Less regulated because it
only offers video on
demand service

Category: Multichannel Video

Programming
Distributor
(MVPD)
Heavily regulated because it
broadcasts scheduled and
live programs

Heavily regulated because it

broadcasts scheduled and
live programs. Guidelines

for censorship made by UK

Has physical presence in
Competition
Commission
London, but did not paid
(Ofcom)
corporation tax
(Further info:
(Source:
http://censorship.wikia.com
http://www.theguardian.co
/wiki/TV_%28UK%29)
m/
business/2015/dec/20/netfl Censorship authorized by
2003 Communications Act
ix-paid-no-uk-corporation Viewers of live TV Show
tax-report-claims)
requires a license
Viewers
of
subscription
channel
like
Netflix
exempted from license
requirement

Singapore

All kind of movies and TV shows are under the supervision

of Media Development Authority (MDA)
The Board of Film Censors of MDA classifies the films based
on age group. They are moving from censorship to
classification. Approx. 13,000 films are classified each
year
(source: http://www.mda.gov.sg/RegulationsAndLicensing/
ContentStandardsAndClassification/FilmsAndVideos/Pages/
default.aspx)
Internet censorship is quite strict, famous porn sites are
blocked. Some people arrested based on Sedition Act for
posting racist comment on social media
In terms of video on
the highest permissible
demand (e.g. Netflix,
rating for free-to-air TV
MioTV), no censorship over
programs is PG13
Pay TV/ TV Cable is allowed
nudity/gore scenes, but
to air NC16 and M18-rated
there is a parental lock
shows in specific time. A
(PIN) feature
In terms of Netflix, Limited
parental lock feature must
choice of movies due to
be available for those rating
censorship of sensitive film
category.
themes (much less than
the US)
Collated by: Benny Agus Prima

1. United States

a. Brief Information
In the United States, television is available via broadcast (also known as
"over-the-air") the earliest method of receiving television programming,
which merely requires an antenna and an equipped internal or external tuner
capable of picking up channels that transmit on the two principal broadcast
bands in order to receive the signal.
There are four conventional types of multichannel subscription television:
cable, unencrypted satellite ("free-to-air"), direct-broadcast satellite
television and IPTV (internet protocol television). There are also competing
video services on the World Wide Web, which have become an increasingly
popular mode of television viewing since the late 2000s, particularly with
younger audiences as an alternative or a supplement to the aforementioned
traditional forms of viewing television content.
b. Broadcast, Cable, Satellite Television
As in other countries, television stations require a license to broadcast legally
(which any prospective broadcaster can apply for through the FCC) and must
comply with certain requirements (such as those involving programming of
public affairs and educational interest, and regulations prohibiting the airing
of indecent content) in order to retain it; the FCC's Board of Commissioners
maintains oversight of the renewal of existing station licenses approaching
their expiration, with individuals or groups who wish to oppose the granting
of a renewal to a licensee based on any disagreement over rule compliance
or any other issues inclined to contest it for consideration of revocation.
Over-the-air and subscription television networks, however, are not required
to file for a license to operate. It can issue fines if, for example, the
broadcaster employs certain profane words.
Cable television is largely, but not entirely, unregulated. Cable providers
must include local over-the-air stations in their offerings on each system
(stations can opt to gain carriage by seeking a must-carry option) and give
them low channel numbers, unless the stations decide to demand
compensation of any sort (through retransmission consent). The systems
cannot carry broadcast network affiliates from other parts of the country (this
regulation has largely been openly ignored in recent years during carriage
disputes), however cable systems can carry stations from nearby markets if
there are no local stations affiliated with one of the major networks (though
this is becoming far less common with the shift, particularly since 2006,
towards over-the-air stations carrying one network affiliation on their main

channel and an affiliation with another network on a digital subchannel, thus

allowing these network-affiliated digital subchannels to be carried at least via
digital cable).
The FCC has virtually no jurisdiction over the content of programming
exclusively broadcast on cable. As a result, anyone is free to create any
number of channels or any sort of programming whatsoever without
consulting the FCC. The only restrictions are on the ability to secure carriage
on cable or satellite (or, failing that, by streaming on Internet television) and
securing the rights to programming. Because of this lack of restriction,
channel drift (the shift of a channel's programming format away from that
which it originally maintained) is much more common in the United States
than in other countries.
c. Internet Television
The video distribution in the United States is categorized into two categories.
The first one is multichannel video program distribution (MVPD) and the
second is online video distributors (OVDs).
In the United States, a multichannel video programming distributor (MVPD) is
a service provider that delivers video programming services, usually for a
subscription fee (pay television). These operators include direct-broadcast
satellite (DBS) providers, cable television (CATV) systems, and other various
wireline video providers (including Verizon FiOS as well as AT&T U-verse) and
competitive local exchange carriers (CLECs) using IPTV.
Section 602 (13) of The Communications Act of 1934 (as amended by the
Telecommunications Act of 1996) defines an MVPD as:
a person such as, but not limited to, a cable operator, a multichannel
multipoint distribution service, a direct broadcast satellite service, or a
television receive-only satellite program distributor, who makes
available for purchase, by subscribers or customers, multiple channels
of video programming.
Meanwhile, in the U.S. an online video distributor (OVD) is defined in FCC 1399 as:
"any entity that offers video content by means of the Internet or other
Internet Protocol (IP)-based transmission path provided by a person or
entity other than the OVD".

In its latest report to Congress on the state of the U.S. multichannel video
program distribution (MVPD) sector, the FCC examined the impact of online
video distributors (OVDs) for the first time. The agency declined, however, to
draw conclusions about the extent to which competition exists in the MVPD
marketplace. Issued last Friday, the report is the FCCs fourteenth on the
subject of MVPD industry structure and performance and covers
developments in the video service marketplace between 2006 and 2010.
Simultaneously with the release of Fridays report, the FCC also issued a
notice of inquiry requesting industry input on the fifteenth report, which
would be released next year and would cover the 2011-2012 timeframe. With
respect to OVDs, the FCC said that Netflix, Hulu and other OVD services
have emerged as significant providers of video content and that the list of
OVD providers includes programmers, content owners/producers, and
affiliates of online services, manufacturers, retailers and other businesses.
The report cautions, however, that OVDs face several key obstacles in
achieving competitive inroads against traditional cable and satellite MVPDs,
such as the high cost of acquiring access to content and ISP data caps. A
spokesman for Public Knowledge, meanwhile, said the report should serve as
a useful resource for the Commission as it considers important issues
like whether online systems can operate as MVPDs and whether ISPs
are using data caps to discriminate against online video.
As of December 2009, the FCC began looking into using set-top boxes to turn
television sets into broadband video players. The National Cable &
Telecommunications Association, American Cable Association, Time Warner
Cable, Comcast and Cablevision said that online video distributors (OVDs)
were not MVPDs unless they had their own distribution facilities, and the
decision to change this status could not be done by the Media Bureau.
Instead, such a change would have to be made by the full commission or by
Congress. Specifically, Comcast said:
"Congress did not and could not conceive of OVD services ... as MVPD
services."
Affiliates of ABC, CBS and NBC asked to include OVDs in the MVPD definition.
By not being included as MVPDs, OVDs would not be subject to
retransmission rules. The Media Bureau pointed out in its request for
comment that if companies such as Netflix, Hulu, Vudu and Vimeo were

given program-access protection and subjected to MVPD regulations, some

companies might be put out of business.
d. Censorship
The Federal Communications Commission (FCC) regulates "indecent"
free-to-air broadcasting (both television and radio). Satellite, cable
television, and Internet outlets are not subject to content-based FCC
regulation.
The FCC also prohibits the airing of "indecent" material over-the-air between
6:00 a.m. and 10:00 p.m. Broadcast stations can legally air almost anything
they want late at night and cable networks at all hours. However, nudity
and graphic profanity are rare on American television. Though the FCC gives
them leeway to air programs containing "indecent" material within its
designated watershed period, broadcasters are hesitant to do this,
concerned that airing such material would alienate advertisers and
encourage the federal government to strengthen regulation of television
content. Premium cable networks are exceptions, and often air very racy
programming at night, though premium channels often air program content
with strong to graphic profanity, violence and nudity in some cases during
the daytime hours. Such content is common on pay television services, as
they are not subjected to FCC regulations and pressure from advertisers, and
often require a subscription to view them. Some networks (such as Playboy
TV) are devoted exclusively to "adult" content, specifically pornographic
material, and therefore viewers may find scenes of simulated or graphic
sexual intercourse and nudity on such channels.
2. United Kingdom
a. Brief Information
Ofcom is the independent regulator and competition authority for the
communication industries in the United Kingdom, including television. Ofcom
regulates TV, radio and video on demand services. Their Broadcasting Code
contains rules which TV and radio broadcasters must follow. There are
separate rules for video on demand services which include TV catch up,
online film services and libraries of archive content. This section includes
information for people in the broadcasting and video on demand industries,
as well as our latest research and Broadcast and On Demand Bulletins.
As the regulatory body for media broadcasts, Ofcom's duties include:

i.
ii.

iii.

iv.

Rules on the amount and distribution of advertising, which also took

effect July 2005.
Examining specific complaints by viewers or other bodies about
programmes and sponsorship. Ofcom issues Broadcast Bulletins on
a fortnightly basis which are accessible via its web site.
The
management,
regulation
and
assignment
of
the
electromagnetic spectrum in the UK, and licensing of portions of the
spectrum for television broadcasting
Public consultations on matters relating to TV broadcasting. The
results of the consultations are published by Ofcom, and inform the
policies that Ofcom creates and enforces.

Specification of the Broadcast Code, which took effect on 25 July 2005, with
the latest version being published October 2008. The Code itself is published
on Ofcom's website, and provides a mandatory set of rules which broadcast
programmes must comply with. The 10 main sections cover protection of
under-eighteens, harm and offence, crime, religion, impartiality and
accuracy, elections, fairness, privacy, sponsorship and commercial
references. As stipulated in the Communications Act 2003, Ofcom enforces
adherence to the Code. Failure for a broadcaster to comply with the Code
results in warnings, fines, and potentially revokation of a broadcasting
license.
The Committee for Advertising Practice (CAP, or BCAP) is the body
contracted by Ofcom to create and maintain the codes of practice governing
television advertising. The Codes cover advertising standards (the TV Code),
guidance notes, scheduling rules, text services (the Teletext Code) and
interactive television guidance. The main sections of the TV Code concern
compliance, programmes and advertising, unnacceptable products, political
and controversial issues, misleading advertising, harm and offence, children,
medicines, treatments, health claims and nutrition, finance and investments,
and religion.
The Advertising Standards Authority (ASA) is an independent body
responsible for resolving complaints relating to the advertising industry
within the UK. It is not government funded, but funded by a levy on the
advertising industry. It ensures compliance with the Codes created by CAP.
The ASA covers all forms of advertising, not just television advertisements.
The ASA can refer problematic adverts to Ofcom, since the channels carrying
the adverts are ultimately responsible for the advertising content, and are

answerable to Ofcom. Ofcom can issue fines or revoke broadcast licenses if

necessary.
a. Broadcast, Cable Satellite Television
As Ofcom regulates TV, radio and video on demand services, thus a
television or radio broadcast provider needs a licence from Ofcom, the
communications regulator, under the Broadcasting Act 1990 or 1996. The
main licensable services are:
Television broadcasting services
Communications Act 2003:

as

defined

in

section

362

of

the

Television licensable content services (TLCS) as defined in

section 232 of the Communications Act, which include services
broadcast by satellite or distributed over an electronic
communications network (ECN) (such as cable or the internet),
and which consist of television programmes or electronic
programme guides (EPGs).
Digital television programme services, which are similar to TLCSs but are
provided with a view to being broadcast in digital form from a multiplex (a
block of transmission capacity).
Licences are also required for other related services such as, for example,
local television services and teletext services. There is also a range of radio
licences, for digital radio, community radio and radio restricted services.
b. Internet Television
Ofcom regulates editorial content (programming) on UK video on demand
services. Previously British co-regulator, the Authority for Television on
Demand (ATVOD), led on this.
Video on demand services include TV catch up, online film services and
those providing a library of archive content. There are specific criteria for
determining whether a service falls within the definition of an On Demand
Programme Service (ODPS) and is therefore required to notify Ofcom and
comply with their rules.
Ofcom has published a statement on how it will regulate editorial content on
ODPS from 1 January 2016, including details of consultations on its long term
approach to regulating these services. In advance of the conclusion of those

consultations, service providers should consult the Interim Procedures and

other documents below.
From 1 January 2016, Ofcom will be sole regulator (other than in relation to
advertising) for on-demand programme services ("ODPS") under Part 4A of
the Communications Act 2003 (the "Act").
This document summarises, for the convenience of providers and consumers
of ODPS, arrangements which apply from that date. We have collated links to
forms for notifying services to Ofcom (and related guidance), as well as Rules
and Guidance applying to ODPS, Interim Breach Procedures for investigating
breaches of rules for on-demand programme services ("Interim Breach
Procedures"), and Sanctions Procedures.
This document also consults on two substantive proposals. One is to
introduce new Procedures for investigating breaches of rules for on-demand
programme services to replace the Interim Breach Procedures, and to align
more closely with the position for linear television broadcasting. The other is
not to charge fees under section 368NA of the Act.
Video-on-demand providers have to notify Ofcom if their service is an "ondemand programme service" (ODPS) under section 368A(1) of the
Communications Act as amended by the Audiovisual Media Service
Regulations 2009 (SI 2009/2979), that is, it provides public "television-like"
programmes on-demand under editorial control. ODPS providers must notify
Ofcom before beginning to provide ODPS and before ceasing to provide them
(section 368BA, Communications Act), and pay a fee.
c. Censorship
The Broadcasting Code, which is drawn up by Ofcom under section 319 of
the Communications Act, includes standards for television and radio
programmes with regard to under-18s, harm and offence, crime, religion,
impartiality, accuracy, fairness and privacy, and so on. Ofcom considers
allegations of breach of the code and can impose statutory sanctions,
including requiring a broadcaster to broadcast a correction or statement of
Ofcom's findings, or pay a fine, or have a broadcasting licence shortened or
revoked.
On-demand programme services also must comply with standards set out in
section 368E of the Communications Act as amended by the 2009
Regulations. In particular, they must not contain material likely to incite
hatred based on race, sex, religion or nationality. If an ODPS contains

material which might seriously impair the physical, mental or moral

development of persons under the age of 18, the material must be made
available in a manner which secures that such persons will not normally see
or hear it.
On 1 December 2014, new sub-sections 368E(2)-(7) came into force to add
detail on what is restricted by section 368E and explicitly prohibiting ondemand programmes services (ODPS) from showing material that the British
Board of Film Classification (BBFC) has refused to classify, and restricting
ODPS from showing material with an R18 classification certificate unless the
material is made available in a way that secures that under 18s will not
normally see or hear it.
Apart from Ofcom, there is another related body advocating issues related to
classification of age rating videos, namely British Board of Film Classification
(BBFC). In 1985, the BBFC became the statutory authority for age rating
videos under the Video Recordings Act 1984. The BBFC is an independent
body which was originally established by the film industry in 1912. Local
Authorities were made responsible for what was shown in cinemas and from
early on accepted the decisions of the BBFC. There are obvious benefits to
both Local Authorities and the film industry in having a central but
independent body bring consistency to the age rating process and accept
responsibility for decisions.
Local Authorities remain legally responsible for what is shown in cinemas
under the Licensing Act 2003 and can still overrule the decisions of the BBFC.
Local Authorities add an important element of local democracy into the
classification process. In order to protect children from unsuitable and even
harmful content in films and videos and to give consumers information they
might need about a particular film or video before deciding whether or not to
view it, the BBFC examines and age rates films and videos before they are
released. This independent scrutiny prior to release ensures the highest
possible level of protection and empowerment. They watch films and videos
all the way through and award an age rating and insight to each one.

3. Singapore
a. Brief Information

As the media regulator for Singapore, the Media Development Authority

(MDA) aims to formulate and administer policies that enable the growth of a
vibrant media sector. MDA also performs the role of a trusted steward of
public values by putting in place content classification standards to help
consumers make more informed media choices and to have wider access to
content, while reflecting community standards, values and mores. MDA
works closely with the industry in the execution of our duties.
In developing a framework to regulate the media sector, MDA aims to
balance the various concerns of industry and public by:
i.
ii.
iii.
iv.

Having a conducive and clear regulatory framework

Encouraging co-regulation
Being technology and platform neutral
Being open & consultative

MDA's regulatory framework can be divided into two categories: content

guidelines and, policies for industry practices and growth.
i.

Content Guidelines

Through community-based content guidelines, the public can make more

informed media content choices while ensuring that the young are
safeguarded from undesirable materials.
MDA maintains a light-touch approach towards content regulation, working
closely with the public and the industry on media content and standards. It
will introduce more co-regulation among industry players to facilitate the
growth of the media industry while promoting social responsibility.
ii.

Industry Practices

Through its pro-enterprise policies, MDA aims to create a conducive

environment for media businesses to introduce new and cutting-edge
services to benefit consumers and businesses. It has in place an operating
framework that encourages innovation and experimentation and which
promotes free and fair competition. It believes that a thriving competitive
media industry ultimately brings the best benefits to consumers and
businesses in terms of enhancing choice, access and value.
MDA adopts a co-regulatory approach when managing content standards for
TV. The aim is to encourage growth in the industry and provide wider choices
for consumers.

Singapore's TV broadcast licensees are categorised into Free-to-Air (FTA) TV,

Pay-TV, Internet Protocol TV (IPTV), Video-on-demand (VOD) and TV Receive
Only System (TVRO). While MDA does not pre-vet TV programmes,
broadcasters are to ensure that their programmes are in line with MDA's
content guidelines which have been developed in consultation with the
community.
a. Broadcast Television (Free-To-Air TV)
Singapores Free-To-Air (FTA) broadcaster, MediaCorp offers a total of seven
channels transmitting TV content over-the-air free of charge to viewers.
MediaCorp is licensed under the Nationwide TV Licence and its programmes
are guided by the FTA TV Programme Code.
Films and videos shown on FTA TV are rated according to the film
classification guidelines. Currently, the highest permissible rating for FTA TV
programmes is PG13. Programmes rated PG and PG13 should observe the
following conditions:
i.

Airing time

As programmes rated PG13 are usually not suitable for children below 13,
these programmes should only be aired between 10pm and 6am. PG-rated
programmes may be aired before 10pm but should be scheduled in
appropriate timeslots.
ii.

Viewing advisory

Programmes rated PG and PG13 should be accompanied by a viewing

advisory on screen before the start of the programme. The advisory outlines
the principal elements which have contributed to the rating (e.g. Due to
strong violence/frequent horror scenes etc, parental guidance is
advised.).This description should be clearly worded and displayed in a
readily legible typeface that should remain visible for at least five seconds on
the screen. Broadcasters are also encouraged to include the relevant viewing
advisory beside PG and PG13-rated programmes in publicity materials (like
the TV page in newspapers and TV guides), such as:
a) PG13 (Mature Themes)
b) PG13 (Horror)
c) PG13 (Violence)
iii.

Warning indicator

A warning indicator should be superimposed at the top left-hand corner of

the screen at the beginning of all PG and PG13-rated programmes and after
every commercial break for one minute. On the advertising front, FTA TV
broadcasters should observe the TV Advertising Code and TV Programme
Sponsorship Code.
b. Pay Television (Cable, Internet Protocol)
In Singapore, consumers can access a number of pay-TV services that are
based on different delivery technologies from companies such as StarHub TV,
SingTel mio TV (mio TV), MediaCorp and M1. With Singapores rising
broadband connectivity, more service providers are also offering Internet
Protocol TV or IPTV service where programming - either full scheduled
channels and / or on-demand content, are transmitted to households via a
broadband connection.
MDA adopts a co-regulatory approach with the industry and does not pre-vet
programmes of pay-TV service providers. Depending on the scale and type of
service offered, pay-TV providers are subjected to the Subscription-TV
Programme Code or the Niche Services Code.
As they are subscription based, pay-TV service providers are allowed to carry
programmes with more mature content up to the M18 rating. However,
programmes rated NC16 and M18 are required to adhere to the following:
i.

Airing time

All programmes rated M18 should only be broadcast between 10pm and
6am. On-air programme promotions for NC16 and M18 programmes should
be edited and scheduled appropriately. For instance, they should not be
shown on channels or programmes targeted at children or at a time when
children are expected to be tuned in.
ii.

Viewing advisory

The classification information of a programme should be presented visually

and prominently such that a consumer is aware of the programmes rating
before making a decision to view.
This may be done by reflecting a classification symbol representing the
classification category of the programme at the start of the programme. For
programmes rated PG13 and above, consumer advice should also
accompany the rating, stating the principal elements which have contributed

to the classification e.g. Rated M18 for Violence. The graphic should be in a
readily legible typeface and should remain visible for at least five seconds.
iii.

Parental Lock

Pay-TV service providers which offer programmes rated NC16 and above are
required to offer a parental lock feature that allows subscibers to limit the
access of such programmes to their children.
c. Video on Demand (VOD)
VOD refers to services which allow consumers to select and view
programmes or video content on a TV, computer or other electronic device at
any time, on request. In 2012, MDA granted StarHub and mio TV the right to
offer Restricted 21 (R21) content on their VOD platforms. To ensure children
are not accidentally exposed to mature content, these programmes must be
locked by default and can only be accessed with a unique R21 pin by
subscribers interested in the service and all R21 content purchases will be
clearly shown in a subscribers monthly statement. Mio TV started offering
R21 content in October 2012 and StarHub followed suit in Jnuary 2013.
d. Television Receive Online System (TVRO)
TVRO refers to programmes received via satellite. Parties who require such a
service are required to apply for a TVRO System Licence. MDA issues this
licence only to organisations that need access to time-sensitive information
for business decisions. These businesses include financial institutions, foreign
embassies and tertiary institutions.
e. Censorship
MDA classifies more than 13,000 films and videos each year. With the
exception of certain categories of videos, all films and videos distributed and
exhibited in Singapore have to be submitted for classification and
certification under the Films Act.
Under the Films Act, the responsibility of classifying films and videos comes
under the Board of Film Censors (BFC). It comprises a chairman and a group
of classifiers responsible for assessing films, videos and games submitted to
the BFC.
The classification is carried out according to content guidelines drawn up in
consultation with the community and industry. These guidelines seek to
reflect the social norms and values of Singapores multi-racial society.

Over the years, Singapore has moved away from censorship to classification.
This means that the BFC classifies content into age-appropriate ratings.
Classification allows films to be suitably rated for different audiences so the
public can have greater access to a wider range of media choices without
compromising on the need to protect young children from undesirable
content.
The journey to classification began with just three ratings when it was first
introduced in 1991 but there are now six ratings for films and videos. To
complement these ratings, consumer advice is also provided where
necessary to give the public an indication of the content themes in a
particular show.
Classification allows films to be rated for different audiences here.
Films and videos share the same classification rating system except that for
videos sold in the market, ratings are up to M18 only.

Source: MDA Singapore

The importing, making, distributing or exhibiting of films in Singapore is

governed by the Films Act of 1981.[7] Films for commercial release are
presented to the Media Development Authority (MDA) which classifies the
films under six different ratings for different groups of audiences:
i.
ii.
iii.
iv.
v.

G (general) Suitable for all ages.

PG (parental guidance) Suitable for most but parents should guide
their young.
PG13 (parental guidance 13) Suitable for persons aged 13 and
above but parental guidance is advised for children below 13.
NC16 (no children under 16) Strictly for persons aged 16 and
above
M18 (mature 18) Strictly for persons 18 years and above.

vi.

vii.

R21 (restricted 21) Strictly to persons aged 21 and above. Films

under this category are forbidden to be screened in suburban
cinemas.
NAR (not allowed for all ratings) In exceptional cases, a film may
not be allowed for all ratings (NAR) when the content of the film
undermines national interest or erodes the moral fabric of society.
This includes themes that promote issues that denigrate any race or
religion, or undermine national interest, language that denigrates
religion or is religiously profane, real sexual activities (e.g. actual
penetration, actual ejaculation), content deemed to be pornographic
or obscene in nature, explicit promotion and normalisation of
homosexual lifestyle, explicit homosexual activity, materials
glorifying or encouraging drug and substance abuse and detailed or
gratuitous depictions of extreme violence or cruelty. Films classified
as 'NAR' in Singapore are banned and cannot be legally sold, rented,
possessed, imported or made public in any format in Singapore,
punishable by fines and/or imprisonment.

When classifying content, classifiers look at the theme, content, presentation

and impact of the film as a whole while taking the following factors into
consideration, violence, sex, nudity, language, drug and substance abuse,
horror.
Films and videos are rated by the Board of Film Censors (BFC).
The classification and vetting process is as follows:

Source: MDA Singapore

i.

Step 1: A film distributor or a video company submits a film for

classification.

ii.

iii.

Step 2: The BFC assesses and classifies the content accordingly. For
controversial titles, the BFC will consult the Films Consultative Panel
(FCP) to gather more feedback and views prior to making a
classification decision.
Step 3: The distributor/video company is then informed of the
rating, consumer advice (if any) and reasons behind the rating of
the film/video.

Film distributors may either accept the BFC's rating or choose to edit the film
to meet the guidelines for a lower rating, without affecting the film's
storyline or theme.
Classification guidelines also apply to additional supplements or bonus
materials that may be found alongside the film in a Blu-ray, DVD or VCD.
Examples of supplements or bonus materials are short films, trailers, deleted
scenes or a behind-the-scenes segment into the making of a film.
There are instances where the supplements or bonus materials may contain
elements such as sex, nudity, drug use or violence, resulting in a higher
rating than the film.
For example, the film Kung Fu Panda was rated PG when it was shown in
cinemas. However, if the bonus materials in its DVD, which could include
trailers for other movies, contain content that exceeds PG, it will be given a
higher rating. Consumers can distinguish the difference between the rating
of the film that is released for screening and that of the bonus materials by
referring to the consumer advice on the packaging.
iv.

Avenues for appeal

In the event that film distributors or video companies do not agree with the
rating issued by BFC, they may appeal to the Films Appeal Committee (FAC),
a panel of 15 members of the public, who represent a cross-section of
society.
A representative from the film or video company has the option of making an
in-person appeal to the FAC. The BFC will also explain to the FAC how it
arrived at its rating. The FAC, whose decision is final, then views the film and
makes the decision to either uphold or overrule the BFC's decision.