Video Nasties: Draconian Days

Video Nasties: Draconian Days is a riveting 2014 documentarian film directed by Jake West, renowned for delivering thought-provoking narratives from his previous works. This film acts as the second installment in the three-part series following Video Nasties: Moral Panic, Censorship & Videotape which focused on the 1984 Video Recordings Act in the UK. The film provides a comprehensive look into the era of conservative dominance termed 'draconian days' in Britain, when strict and oppressive laws were enforced predominantly in the areas of film censorship and the home video market.

The film presents some of Britain's darkest days in film censorship history, between 1984 to 2000. The narrative documents a chilling period marked by overzealous censorship and intensified restrictions on artistic creativity and freedom. The key focus is on the United Kingdom's Video Recordings Act during the 80s and 90s under which a host of horror and exploitation films was heavily censored or banned outright, leading to a significant impact on the video rental industry.

One of the key characters lending weight to the discussion is Sian Barber, a notable film historian and author, who provides insightful commentary throughout the film. Barber provides exceptional insight into the culture, society, politics, and intricate mechanisms of the censorship board and its impact on the film and video industry and its patrons.

Martin Barker, a prominent media effects scholar contributes his expert analyses, giving a scholarly perspective on the subject matter. His accounts help place the actions of the censorship board within a larger context of media studies, making the film not just a historical account but also a penetrating look into the academic aspects of media censorship.

Graham Bright, a notable political figure involved with the original act's legislation, also lends his perspective, providing insider knowledge and reflections on the act's perceivable intent and actual effects. His recounting of events from a political perspective makes for a more well-rounded discussion, allowing audiences a glimpse into the governmental reasoning behind these censorships.

Together, Barber, Barker, and Bright invoke deep thought and question around the necessity of censorship, its effective application, its intrusion on creative freedom, and its contextual relevance in a rapidly evolving society. Their perspectives collaborated offer a comprehensive logistic, moral, and intellectual exploration of the issue.

The film includes clips from movies that were dubbed 'video nasties,' representing a slice of cinematic history that was outright banned or heavily edited before they were allowed to be viewed by the public. Furthermore, we meet collectors of these films, who shed light on the underground network that sustained banned horror films in this restrictive period.

Video Nasties: Draconian Days resonates profoundly with film buffs, collectors, filmmakers, scholars, and anyone interested in film history and censorship. The story is artfully woven, presenting a chilling era that ushered in controversial policies, restrictive laws, and a climate of fear around the consumption of certain genres of film.

The film’s narrative is evocative and gripping with a structure that values intellectual discourse and historical revelation over shock value or sensationalism. The film is less concerned with glorifying the affected films than exploring the sociopolitical climate and the effects of suppression on artistic expression and public consumption.

Moreover, this documentary provides a broader conversation about censorship, democracy, and human rights. The filmmakers offer a clear counterpoint to the notion of censoring art, making it a compelling watch for anyone who values freedom of expression in the arts and media and the effect of political interference therein.

In conclusion, Video Nasties: Draconian Days is a compelling and informative documentarian take that weaves together accounts from industry insiders, scholars, and politicians, making it a well-rounded critique of a repressive period in British film history. It provides the audience with a vivid historical backdrop and a broader scope of understanding the societal and cultural implications of film censorship. This brilliant documentary will leave you in contemplation long after the credits roll, questioning the important balance between the freedom of artistic expression and the perceived need for societal protection through censorship.