Worldwide Content Classification -- How Hard Can It Be?

The explosion of direct streaming and OTT services worldwide on a wide range of platforms e.g., online, mobile, and Connected TV (CTV)means content creator’s products have global potential. That means films, TV shows, documentaries, and live events can reach new markets and generate additional revenue for everyone in the production chain. The only challenge is it isn’t a simple process. The good news is Spherex offers a solution to assist creators in reaching those markets quickly, properly, and cost-effectively.

The phrase, “how hard can it be?” is a common first thought, but when considering things like different cultures, languages, religious sensibilities, and intolerance to violence and sexuality, getting content released in a timely manner can get slowed to a crawl or stopped altogether simply due to a lack of cultural awareness and competence.

This begs the question of who in the content creation chain needs age ratings services and when do they need it? Because assigning appropriate age ratings occur post-production, it would be premature to discuss ratings with writers, directors, or producers at the creation phase of content. Their focus is on developing and telling the story. That leaves obtaining age ratings to those whose responsibility is deciding where films will be released, e.g., producers, post-production houses, and distributors.

The map identifies countries where age ratings are required for any content to be exhibited or streamed. Countries shown in dark blue are in the top 20 markets measured by total box office receipts for 2019. Those in light blue simply indicate smaller market countries, but still requiring age ratings. Countries in gray have no formal film maturity rating requirement.

By our count, 56 countries worldwide have some form of maturity ratings requirement. The vast majority of those (45) have a government-managed entity or office (often a sub-agency to a ministry, or separate cultural agency) to oversee their rating system. The rest are operated or managed by the film industry or a private service. In the United States, for example, the Motion Picture Association of America ( MPAA ) established and manages an industry-based rating system that has been used not only in the U.S. but worldwide since 1968. It is administered by the Classification & Ratings Administration (CARA), an independent division of the MPA. Films released in the U.S. must obtain an MPAA rating to be shown in most theaters. Films can be unrated, but that limits exhibition in most of the country’s theaters and greatly reduces box office potential worldwide. However, those same films can be streamed on any OTT platform.

There is no agreed-upon global standard for rating video content. No country, region nor the Media & Entertainment (M&E) industry has called for one to be developed. There are some countries that regulate film, but not television or streaming content. Hence, there are approximately 53 distinctly different sets of rules content creators and distributors must follow to obtain ratings for their work to be shown in other countries. This is in addition to any language, cultural, or religious sensitivities they must also navigate to obtain distribution approval before they can make money. That doesn’t mean countries can’t agree on how to rate content; there are examples of this happening. In Europe, for example, Germany’s independent Freiwillige Selbstkontrolle der Filmwirtschaft (FSK) standard has been adopted by Switzerland , and the Netherland’s “Institute for the Classification of Audiovisual Media” system has been adopted by Belgium and Turkey.

Not everyone gets it right. Mistakes in ratings can lead to public outcry, negative media attention, religious criticism and in some instances, the loss of a job or landing oneself in jail. Major studios have offices located worldwide to deal with ratings and have for decades, so it’s not as challenging for them because their teams live where the content is released and are familiar with any cultural problems that may arise.

It is important to note that some of the world’s largest markets frequently update/change their regulatory requirements. The European Union recently instituted local content requirements. Examples of scenes in a film being approved in one country and not the neighboring country are quite common. What is acceptable in Japan may not be admissible in China. Likewise, some content satisfactory to regulators in one region of India is not allowable in another.

The challenge facing content creators and distributors is their lack of the unique cultural knowledge required to navigate international regulations in their target markets. The sheer volume of catalog and future content (averaging 356,781 new titles each year for the past five years) presents a real dilemma for both regulators and content creators. Creators can’t release the content without a rating, and the regulator can’t assign a rating without a review. It’s the proverbial cat and mouse chase. With over a decade of working directly with the world’s most influential government regulators, Spherex can quickly identify risks and prevent problems from occurring before they happen, thus ensuring your content is released to market without worry or wait.

Related Insights

Spherex Classification Tool Now Approved for Home Entertainment Content in Australia

Spherex

Regulation

Classification

The Albanese Government has updated the Spherex Classification Tool approval to include ratings for theatrical releases, home entertainment, and streaming content in Australia. Spherex was previously approved to classify online films.

The update underscores the Australian Classification Board’s confidence in Spherex as a tool to help Australian viewers make informed choices about the content they consume. This means Australians can now access a range of new films sooner than they might across all formats and windows.

Spherex has a longstanding relationship with the Australian Classification Board. Since 2020, Spherex has collaborated closely with the Australian Government to ensure its technology reliably generates classification decisions that meet Australian standards and viewers' expectations.

As the world’s only commercial provider of local age ratings, Spherex has successfully produced classification decisions for high volumes of online content in over 100 countries. Since 2018, Spherex has issued over one million age ratings for digital content, including films, TV shows, and trailers, distributed by its clients worldwide.

Spherex customers, including Umbrella Entertainment, Madman Entertainment, and Sugoi Co., rely on its AI-based platform to obtain local age ratings in Australia and significantly improve efficiency, cost reduction, and market reach.

Discover how Spherex's cutting-edge AI-based platform can streamline your content classification process and enhance your market reach while reducing costs.

Visit spherex.com today and see how we can support your content distribution needs.

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nScreenNoise - Interview Spherex: Avoiding the cultural dead zone

Spherex

Culture

One of the conundrums of streaming is that although a service can deliver content globally, it is not guaranteed to be acceptable in a particular local market. Netflix found this out when it announced global availability in 2016 at CES and was quickly banned in markets like Indonesia, where some of the content was deemed too violent or sexual. In 2016, without boots on the ground in a local market, it wasn’t easy to assess whether a show or movie would be culturally acceptable.

Today, global media companies are acutely aware of the importance of their content’s cultural fit. Moreover, they have a company like Spherex to help them prepare their content to ensure it fits with any country of interest. I interviewed Teresa Phillips, the Co-Founder and CEO of Spherex, at the recent OTT.X Summit in Los Angeles. She explained how the company is leveraging AI and its massive cultural profiling database to help companies prepare content for target markets. She also explained how, in the near future, AI would aid the company in measuring a movie or show’s cultural distance from a regional market and help it avoid falling into the failure zone between cultural fit and novelty interest.

Listen to the full interview here.

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Spherex Featured in the DPP's IBC 2024: Demand versus Supply Report

Spherex

Industry

Spherex was featured in the DPP’s IBC 2024: Demand versus Supply Report, a comprehensive look at how the M&E industry is meeting key customer demands. The report focuses on the topics of empowering creators, understanding audiences, engaging users, and innovating the newsroom. It also highlights many of the technical innovations seen at the recent IBC Show.

An article by Spherex’s CEO Teresa Phillips titled "Navigating Cultural Resonance in Global Media: The Art and Science of Culture Mixing" was featured in the report, exploring how Spherex is pioneering the future of culturally informed content.

Teresa shares how cultural mixing has become a critical strategy for creating content that appeals to diverse audiences in today's global media landscape. This phenomenon involves blending elements from different cultures to craft films and television shows that resonate globally while adhering to local regulations.

However, the process of culture mixing is fraught with risks. Superficial or stereotypical representations can lead to accusations of cultural appropriation or insensitivity, alienating audiences and damaging a company's reputation. For example, imposing Western concepts on Eastern content without proper context can feel inauthentic and jarring to local viewers. These missteps highlight the need for a nuanced understanding of cultural elements to ensure that content is respectful and engaging.

To address these challenges, M&E companies are increasingly turning to data-driven solutions. Platforms like SpherexAI utilize artificial intelligence to analyze visual, audio, and textual elements, providing insights into how well content aligns with cultural and regulatory standards across over 200 countries and territories. This approach helps media companies understand the "cultural distance" between a title's origin and its target market, enabling them to make informed decisions about global distribution.

By leveraging these advanced tools, M&E companies can go beyond traditional content localization. They can create media that actively engages and resonates with diverse audiences. As the industry continues to evolve, those companies that embrace culturally informed, data-driven approaches will be better positioned to succeed, fostering cross-cultural understanding and trust while delivering globally appealing content.

Download the report here.

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