The Eyes Have It (Press, 31 October 1987)
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Summary: The Eyes Have It (Press, 31 October 1987)
On 31 October 1987, Miss Patricia Bartlett, the director of the Society for the Promotion of Community Standards, expressed her concerns regarding the existence of 350 sexually explicit video films that were available in New Zealand. The society had selected two specific videos to review the censorship decisions made concerning classifications, indicating the possibility that, if not rejected, these films could be seen as legally acceptable forms of pornography in New Zealand. Bartlett's comments reflect growing tensions about the regulation of explicit content within a changing cultural landscape. She highlighted the challenges faced by censors, suggesting that their efforts to classify and manage these films might be insufficient against the rising tide of sexually explicit material. The commentary touches on broader themes of public taste, freedom of choice, and the implications of censorship—raising questions about the effectiveness of imposing standards on content that people are willing to seek out and pay for. The discussion showcases the paradox of public and individual moral standards, as Bartlett acknowledged that what one person finds offensive may not be the same for another. She articulated a concern that imposing one’s own values onto others could infringe on personal freedoms, emphasising that each individual's tastes, even if deemed "vile" by some, are entitled to exist without alteration for the sake of a perceived "public good." This tension between personal liberty and collective morality underpins the debate around media censorship in New Zealand during this period. Essentially, Bartlett’s society is navigating the complexities of a market that caters to diverse tastes while grappling with the notion of maintaining what they consider community standards. The undercurrent of fear regarding the impact of explicit content on societal values and individual morality is palpable in her remarks. The societal apprehension surrounding these topics reveals broader issues at play, including cultural shifts in what is acceptable, and the ongoing discourse about the rights of consumers and the responsibilities of censors. Bartlett’s appeal to the public to consider the diverse preferences among consumers stands out, posing an unsettling question about the nature of censorship and the role of society in regulating personal enjoyment. Her reflections signify a critical moment of reassessment for New Zealand as it confronted the challenges of modern sexuality, media consumption, and the power dynamics at play in defining public morality.
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