Contents

Mission Department statement reviews 33 Production 2 9 Chairman’s Education 37 The spotlight fell on statement William Friedkin at the Financial bfi’s NFT statements A vision on the South Inside back cover 15 Bank: the new bfi 4 Collections London IMAX® Cinema bfi Fellows Director’s Film posters and stills are just part of the bfi’s report extensive collections

bfi Education gets into the classroom

A hugely successful bfi restoration: South 25 Exhibition 01 Chairman’s statement

As I sit down in August to write my statement for the Institute’s 1998/99 financial year I have with real sadness just tendered my resignation as Chairman of the British Film Institute following the Secretary of State for Culture, Media & Sport’s invitation to chair the new strategic industry body, the Film Council.

bfi Chairman Alan Parker on the set of I am therefore passing the through a full-scale review of Joan Bakewell, who his latest film baton of bfi chairmanship to activities with three simple succeeded Alan Parker Angela’s Ashes to chair the bfi in 1999 Joan Bakewell CBE who has aims: to make our collections been a bfi Governor for five more accessible; to get a years and who I know will broader range of films into UK and to secure its funding make an excellent Chair. I cinemas; and to create a base. wish her every success. coherent education strategy. This last year has therefore My tenure as the bfi’s All this was done against a seen a tough rationalisation Chairman lasted just 18 backdrop of a comprehensive which will include the months but during this time review of Government funding temporary closure of the bfi patron The Prince of Wales leads the Fellowship presentation the Governors and I have structures for film and a need Museum of the Moving Image to Sir J Paul Getty steered the organisation for the bfi to focus its activities and the loss of a number of 02 Read the Sky. It was a fine swansong for a production unit whose history dates back to Sir Michael Balcon. I am therefore particularly pleased that the bfi’s production base will move to the Film Council in April 2000.

There is no film institute anywhere else in the world which approaches the scale or range of activities offered Bernardo Bertolucci at the Fellowship awards ceremony by the bfi and it has been a privilege and a pleasure to chair the Institute. I confess for the Institute’s archival The Prince of Wales with bfi benefactor Sir J Paul Getty that when I started I was work. The presentation was unaware of the full range of made by our patron, His staff across the Institute, but bring the Institute together at activities undertaken by the Royal Highness, The Prince of the aim of putting the bfi on a one location on the South organisation but I am, and will Wales. firm financial footing has now Bank are also advancing remain, deeply impressed by been achieved. Our plans to steadily. In effect there is a the dedication and I would also like to thank Sir clear plan of action for the bfi professionalism of the staff Anthony Durant, Gus Macdonald, Steve Morrison Previous bfi Chairman over the next few years. who make the place run. Jeremy Thomas receiving and Allan Shiach who retired his bfi Fellowship By the time you read this I would also like to make as Governors during the year, review I shall have taken up mention here of our three new and to welcome as Director my position at the Film bfi Fellows: Jeremy Thomas and Deputy Director Council. But my connection and Bernardo Bertolucci respectively, John Woodward with the bfi is not ceasing and whose extraordinary body of and Jon Teckman who joined I shall still remain involved and work was recognised when the bfi early in 1998. engaged with its activities they received bfi Fellowships from a strategic and funding at the 42nd London Film position at the Film Council. Festival. It was also a real honour last January to watch 1998/99 also saw a terrific the presentation to Sir Paul final year for the bfi Production Getty of the 50th bfi Department with three feature Fellowship in recognition of his films: Love is the Devil, enormous contribution to the Alan Parker CBE Beautiful People and I Could bfi and particularly his support Chairman 03 Director’s report

Twelve months is a brief period of time when viewed as part of the 66 year history of the British Film Institute but the work done during the past year, in refocusing, setting out to reach a broader audience and underlining our education remit, has now created a clear direction for the future.

The bfi Library’s enquiry service (top left) Samirah Makhmalbaf, (left), winner of the bfi’s 1988 Sutherland Trophy Beautiful People (above), a Cannes Film Festival award winner for bfi Production Film preservation in action (left) at the J Paul Getty Conservation Centre 04 Crucially this fundamental reappraisal of the Institute took place cultural and educational objectives UK-wide, but in future we will film-related materials and expertise in order to encourage within the context of the desire of the Department for Culture, be funded by the Film Council rather than directly by the DCMS. ‘cine-literacy’ across a much wider audience base Media & Sport (DCMS) to establish a new strategic body, the Film Council. Without question the last year has been a tough Prior to these announcements but quickly after my appointment These structural changes which were announced in July 1998 one during which the bfi negotiated its own independence of the in 1998, and with the full support of the bfi’s Governors and may not appear revolutionary to the outside world but they have Government and underwent major structural change. This Chairman, I initiated a review of every single bfi activity in order set the bfi on course to be more efficient and valuable for those required both the commitment of the staff and unerring support to understand where we were strong and where we were weak. who use and want to work with the Institute, in other words our from the bfi Governors which never faltered. It soon became clear that the bfi had been drawn towards customers and partners. ‘super-serving’ a small group of committed cinephiles and The brief for the new Film Council is to develop a coherent academics and that a large proportion of our limited resources A number of additional criteria also set the terms of our new overall strategy for film culture and the development of a was being used on activities too distant from our prime area of policies: sustainable domestic film industry. These objectives are part of work – informal and formal education. The bfi has to ensure that it acts as a UK-wide the broad picture set out in the DCMS policy document, A New organisation working with partners and is not Cultural Framework, which identifies the need to harness quality The Governors therefore decided to re-focus the bfi’s activities in predominantly London-centric and excellence in the fields of culture, media and sport; to raise the following ways: The funding base of the bfi has to be secured by standards of education and training; to help develop future By creating four main operating departments: focusing our activities and knowing when to say ‘no’ employment opportunities in the creative industries; and to Education Private sector partners will increasingly be needed make opportunities available to as many people as possible. Collections to help support our activities both financially and to The Culture Secretary has also committed to establishing a Exhibition help us reach new audiences stronger regional focus for policies and programmes and a Production (which will be transferred next year to the new Better public recognition of the bfi’s activities, greater strategic coherence between cultural and industrial Film Council) knowledge and resources needs to be achieved activities at a regional level. By establishing new objectives based around the provision of educational activities relating to film and the moving Whilst concepts like ‘access’ and ‘education’ are at one level After lengthy discussions it was announced that the bfi will image straightforward, the way in which the bfi conducts its activities – continue as the key body delivering film and moving image By prioritising real access to the bfi’s growing collections of from film programming to educational projects – must take into

Construction of the bfi’s London IMAX ® Cinema (below) well under way in the summer of 1998

Angie Dickinson (above) in the bfi’s re- release of Point Blank

The bfi at the 1998 Cannes Film Festival (above) for Love is the Devil Kate Winslet (left), her husband Jim Threapleton and Hideous Kinky cast members at the ‘98 LFF 05 account a broad audience ranging from the casual cinema-goer called upon the bfi, as the principal public sector body involved feature films, TV programmes, documentary footage, museum to the film academic. In addition, the bfi must seek to reflect the in film education, to “give priority to stimulating interest in, and objects, stills, posters, designs and even computer games. cultural diversity which shapes our society including widening understanding of, film among the general public and Encouraging greater access to these materials whilst geographical, ethnic and socio-economic differences. particularly among children, and developing a strategy to maintaining high standards of preservation and improving the increase and broaden the audience for film.” cataloguing and recording of our collections are the The new bfi structure with its four departments became department’s key priorities. The scope and nature of this activity operational in January 1999. The challenge for FEWG was therefore to draw up a practical, is now opening up the possibilities for working with outside coherent and long-term strategy for film education in the UK, partners for the first time. Where to now? focusing particularly on schools but also looking at higher and The aim of the bfi’s Education department is to re-establish the further education and the educational context for film exhibition Last year illustrated the diversity of initiatives undertaken by the bfi as a key player in the field of film and TV education. The in general. The working group included members from a wide Collections department with the start-up of the Heritage Lottery department is developing the education policy for the whole of range of private and public sector organisations. Its findings, Fund project An Archive for the 21st Century, supported the bfi and is working with partners, such as the industry- which were published in the report Making Movies Matter (July through the generosity of the bfi’s main benefactor Sir J Paul backed Film Education, to deliver UK-wide programmes and 1999), will be central to the future development of the bfi’s Getty; the development of the Key Stage 2 educational work at activities in formal and informal education. It is also developing education strategy. the Museum of the Moving Image; the restoration, screening an online service to make our collections more widely available and video release of films such as South, about Ernest to educational users around the UK, and has also concluded the Other important services provided by bfi Education include: the Shackleton’s historic expedition to the Antarctic; and the cross- pilot stage of a joint project on literacy and moving image media bfi National Library, which attracted a record number of people over success of theatrical re-releases of classics such as John with King’s College University of London. during 1998/99; bfi Publishing, for which the publication of Boorman’s Point Blank. Camille Paglia’s Film Classic The Birds was so phenomenally Perhaps the key task for the new department last year was to successful that it sold out in the first three months; and the UK’s Offering a broad range of films to audiences throughout the UK co-ordinate the setting up and running of the Film Education only heavyweight monthly film magazine Sight and Sound. is the prime responsibility of the new Exhibition department. The Working Group (FEWG) as recommended in the Government’s bfi now has an important part to play in delivering the Film Policy Review Group report on the UK film industry, A The new Collections department has brought together for the Government’s aim of “broadening the audience” for cinema in Bigger Picture (March 1998). In this report the Government first time the bfi’s wonderful film-related collections including the UK. The way the department is setting about this task is to

South (left) relived Ernest Shackleton’s Antarctic expedition The Discoland season (below) brought 70s fever to NFT audiences

06 develop a national exhibition strategy which involves helping During the year, the bfi’s Production department celebrated the delivery, were reallocated to the four new departments. This now cinema operators and film societies around the UK to screen success of John Maybury’s Love is the Devil which was selected gives each department a clear responsibility to service and promote a wider range of films and television for official screening at the 1998 Cannes Film Festival. The film audiences across the UK. productions. In addition, the department has committed financial went on to win the Michael Powell Award for Best British Film at support to film festivals UK-wide as well as the London the Edinburgh International Film Festival and the Evening The bfi on the South Bank Film Festival (LFF). Standard’s Best Actor trophy for Sir Derek Jacobi. The 10-year retrospective of New Directors at the 1998 Edinburgh The year saw the completion of construction of perhaps the In London, the National Film Theatre (NFT) will remain a vital part International Film Festival and subsequent BAFTA nomination for most visually striking IMAX® theatre in the world – the bfi London of the bfi’s exhibition strategy and the focal point for the LFF. Sara Sugarman’s Anthrakitis boosted the department’s IMAX® Cinema. Made possible thanks to the Arts Council of The year saw a succession of critically and commercially contribution to British cinema. England’s National Lottery fund and to private donations, successful major retrospective seasons at the NFT, including the construction started in November 1997. The cinema features first ever comprehensive programme in the UK of the work of During the year bfi Production also co-ordinated a £1 million the world’s most sophisticated projection system, an 11,600- Rainer Werner Fassbinder accompanied by an international regional production fund to support film-making in all parts of watt digital surround sound system and the UK’s biggest screen conference. The UK-wide touring programmes of films began to the UK; continued to nurture new talent through the New which soars 20 metres high and stretches 26 metres wide. It illustrate real diversity with seasons ranging from Chewits Movies Directors scheme; and also oversaw the first British-financed also has excellent facilities for disabled visitors. The glass for Kids, through Visions of Norway to the London Lesbian & large-format film made by Terry Jones and John Cleese as the cylinder, housing Howard Hodgkin’s commissioned landscape, Gay Film Festival on tour. ‘signature’ film for the bfi London IMAX® Cinema. is illuminated at night by coloured lights and serves as a beacon on the South Bank. The 42nd LFF screened 150 feature films, welcomed 216 film- One of the most important changes to be implemented as a makers and initiated its own UK-wide programme. The result of the bfi’s internal review and the creation of the Film This bfi London IMAX® Cinema is one of the key components of popularity and high profile generated by The Guardian interview Council will be the transfer of bfi Production to the Film Council the on-going programme of urban regeneration taking place on series at the NFT and the LFF continued with distinguished film- next year. the South Bank. By December 1999 the bfi in partnership with makers such as Ken Loach, William Friedkin and Roberto the South Bank Centre will have taken a fresh look at the Benigni, and actors Samuel L Jackson, Kris Kristofferson, Services provided previously by the bfi’s Regional Development redevelopment of the whole arts complex, which includes the Michael Caine and Julie Walters. Unit, which had responsibility for UK-wide funding and support bfi’s National Film Theatre, IMAX® Cinema and Museum of the

The bfi’s NFT Sir Derek Jacobi (above) in the bfi production welcomed film-maker Love is the Devil John Akomfrah (below), Ewan McGregor, Brenda Blethyn, Jane celebrated screen icon Horrocks and Michael Caine welcome Little Veronica Lake (left), Voice as the LFF opening film and its NME season toured the UK (far left)

07 Moving Image, as well as the Royal Festival Hall, the Queen facilities which fall well below today’s audience expectations of Finally, I would like to place on record my thanks and Elizabeth Hall, the Purcell Room, the Hayward Gallery, Jubilee presentation, comfort and access. The bfi is committed to appreciation to the Board of Governors who have worked Gardens and the Hungerford Bridge. Once work is complete the ensuring that the NFT stays open throughout this tirelessly for the bfi over the last year, the staff whose area will be one of London’s, if not Europe’s, most spectacular redevelopment period although it is likely that a temporary home commitment and dedication to the bfi’s work always shines destinations. will have to be found for two or so years whilst construction through, and most importantly to Alan Parker CBE who piloted is underway. the ship and still found time to direct a new feature film. The redevelopment is intended to build a stronger alliance between the South Bank partners and local residents, The new film centre will provide a number of benefits businesses and customers. Priorities include developing the to visitors: hundreds of thousands of square feet of under-utilised space; At least four state-of-the art auditoria at the new NFT animating the local environment by mixing performances and The new Museum of the Moving Image will be twice public art with cafés, restaurants and shopping; and maximising the size and incorporate a much-needed temporary the potential employment opportunities for local people exhibition gallery generated by the increased activity. Improved public access to collections in the bfi National Library An exciting element of this vision will be the creation of a world- Greater synergy between the various departments of the bfi class, comprehensive and integrated film resource. It is anticipated that the new bfi film centre will incorporate, on one Taking into consideration the international, national and local site, a new National Film Theatre and Museum of the Moving significance of the whole South Bank complex, a widespread Image, an expanded bfi National Library and the bfi’s head office and continuous process of consultation with all interested John Woodward currently based at Stephen Street. groups is currently taking place. Director

This massive project will involve moving the NFT and the In short, the last year has been difficult but immensely museum from their current inadequate facilities under Waterloo rewarding. The bfi has set out its plans for the next few years Bridge. Site boundaries make it impossible to expand these and is now well placed to fulfil them.

bfi Chairman Alan Parker and actor Rupert Everett at the 1998 Cannes Film Festival

The bfi London IMAX® Cinema: a new landmark on the South Bank

08 Education

Education lies at the heart of the British Film Institute’s vision – to engage individuals and audiences in the excitement of the moving image, enriching their cultural experience, and to encourage their appreciation of how the cinema and other moving image media have become what they are today.

09

Education is one of the bfi’s The year was packed with a practitioners in the British film olds the opportunity to FEWG met between four new departments. It variety of events and industry more than 30 years discover and to share September 1998 and March brings together, for the first publications which reflect after the first black British film teaching approaches. 1999, splitting into sub- time, education staff and increased interest in the work was produced. The overall Participants were able to groups to discuss schooling responsibilities from across of the bfi and the continuing goal of the conference was to discuss key critical concepts for 5-16 year olds, informal the organisation. vitality of the British film and raise the profile of, and with leading academics and to education, further and higher television industries. explore new opportunities for, quiz practitioners from a range education, and the barriers to The department has four black film-makers in Britain. of media industries about their improving ‘cine-literacy’. Eight

sections: bfi Education successfully ran work. The event included 30 pieces of research were Education Projects conferences on media studies The annual media studies workshop and seminar commissioned investigating, Audiences for bfi National Library and New Futures for Black conference which took place sessions led by education and amongst other topics, the bfi Publishing British Film. The latter put the at the bfi’s South Bank site industry professionals. The availability of film titles for the moving Sight and Sound, the spotlight on the continued (26-28 June 1998) offered debate on the future of media younger children, the range of image should monthly film magazine under-representation of black media teachers of 16-19 year studies looked at prospects opportunities for young have access for this increasingly popular people to study and make film to a greater but controversial subject. and video outside school, and ‘ ‘ More than 150 film and media the ways in which other degree of teachers from schools and countries support the study of ‘cine-literacy’, further education colleges the moving image. and this attended. ‘‘ Evidence gathering activities should be A renewed commitment spread farther afield, developed to education becoming a large-scale UK- especially for wide undertaking - 40,000 young people, A Bigger Picture, the individuals and institutions Government’s Film Policy were invited by mail to the audience Review Group report respond to key questions. In of the future published in March 1998, addition, there were 13 focus advocated the setting up of a group seminars, held in joint industry-government Scotland, Wales, Northern initiative to consider film Ireland and in regional centres education in the UK. This in England. remit emanated from a recommendation that there FEWG’s findings were should be a longer-term goal published in July 1999 and to create a more ‘cine-literate’ 22 specific recommendations population through education covered: at all ages and levels. In particular it suggested a Curricula – that the study of strategy should be developed the moving image should for younger people, the be explicitly required by the audience of the future. English National Curriculum

The bfi was invited to provide Copyright – that moving the secretariat to the Film image materials should be Education Working Group made more accessible for (FEWG) which was set up in teaching summer 1998. FEWG members included people Access and provision – that working in film and media organisations with holdings education, broadcasting, and in, or access to, moving the film industry’s production, image materials should be distribution and exhibition encouraged to join forces sectors. FEWG’s work was with educators observed by representatives from the Department for Research – amongst Culture, Media & Sport (the others, a mapping exercise sponsoring ministry) and the of informal opportunities for Department for Education moving image making and and Employment. study should be undertaken 10 proposed cinema discount how media teaching These films, sourced from the scheme for schools. requirements might be archive, were featured in the clarified and assessed. bfi education pack Film in Throughout the year, bfi Victorian Britain. The event Education staff were also During the year, the Museum was the culmination of a planning and developing new of the Moving Image series of workshops, led by programmes of work. Two Education Unit reached more composers, museum actors strands of distance learning than 5,000 people through and a lecturer from the Royal for teachers were initiated, staging 97 events. These College of Music. both to be accredited at ranged from actor-led ‘Drop-in workshops’, including Master’s level, to address the interactive drama sessions for practical animation and film needs of two kinds of media primary school children to set design, were held in the teacher – experienced and specialist lectures for adults. museum to complement the novice. One, at the Open programme of Junior NFT University, began its pilot year A highlight was the media screenings for schools’ half- in September. Students follow studies conference for 500 term week. a two-term course of reading GCSE and ‘A’ Level students and email based response which took place at The Education department and discussion, after which Futuroscope in Poitiers, continues to produce a twice- they complete an action France. yearly newsletter, In Focus, Children ‘playing to pictures’ at the bfi’s NFT research project for their and keeps in touch with its assessment as ‘curriculum Home Movies Evening was a constituency through mailings Funding – National Lottery key role in the preparation of specialists in media’. The special occasion for amateur in March and October. money should be set aside the report, and this year the second strand will form part of movie makers and their to fund films specifically for bfi was delighted that its Middlesex University’s MA in families. The 16 films, The importance of the under-12 age group relationship with Film Lifelong Learning. shown in the bfi museum research Education was formalised into cinema, were all made In addition, FEWG developed a partnership. Both bodies Education in regional film before 1975. With ‘education’ as the watch prototypes of a learning will be charged with the theatres continued with a word, the bfi undertakes progression model for film and responsibility of following up wide range of projects such Playing to Pictures was a new research projects to increase moving image study and a many of the FEWG report’s as international cinema tours, initiative from the museum’s understanding of our moving key skills template for teacher key recommendations, centenary programmes, short Education Unit, working in image heritage and help to trainers, which it is keen to notably on teacher training, films and retrospectives. For collaboration with the National nurture the pursuit of see road-tested and the production of teaching the first time, the London Film Film and Television Archive excellence and quality in film discussed. resources, creating Festival on tour was and the Royal College of and television. partnership clusters of supported by audience Music, whilst Composing in The industry-supported body cinemas, libraries and debates, programme notes, the Classroom brought In partnership with the School Film Education also took a schools, and pursuing the booklets, lectures and school together 150 Southwark of Education at King’s College visits. Children aged 6-12 primary school children to University of London (KCL), bfi A guide for students, teachers, careers advisors and parents enjoyed a film programme perform their own musical Education established the researching media courses sponsored by Chewits which compositions as Centre for Research on Literacy Children perform their own toured a number of venues accompaniment to silent films. and the Media. The purpose of silent movie soundtracks with actor-led workshops.

Funding from Channel Four, the Broadcasting Standards Commission, the BBC, BBFC and ITC enabled bfi Education to commission Dr A J B Barratt to research English teachers’ interpretation and implementation of the media requirements in the National Curriculum for England and Wales. His Audit of Media in English formed a useful basis for discussion with the Qualifications and Curriculum Authority and the Office for Standards in Education about 11 the centre is to study the Providing wider access forming a rich resource of relating to film, was carried impact of film and television on unique personality material. out in early 1999. This was to the development of children’s The bfi is committed to help understand the spread of literacy. First findings suggest broadening access to its The bfi National Library’s collections of materials on film that, far from inhibiting collections of film, TV and Music and the Movies and their availability to the children’s acquisition of related materials. Through exhibition was mounted in a public. The insights gained will conventional literacy skills, the digital and network number of public libraries. contribute to the bfi’s building study of moving image media technologies, bfi Online This looked at the various of partnerships with other contributes positively to the provides a new avenue for ways music and film have moving image libraries. development of literacy. people around the UK to interacted over the course of explore these collections. In cinema history, from the The library’s automated Findings from the pilot this, its pilot stage, users can silents right through to catalogue was upgraded to a research have been published view a range of British film Spiceworld! (1997). Libraries new and more powerful in the national press and and television material from in Harrow, Bromley and version of Fretwell Downing’s scholarly journals and have the past 60 years including Accrington, for example, used OLIB system with a Windows laid the foundations for further film clips or television the exhibition to promote use user interface. Catalogue studies in the centre and for programmes, scripts, still growing reputation as one of of their collections of books records for the library’s research funding from the Sir images and interviews with the most important specialist and other materials on film collection of annuals (1,500 John Cass Foundation. personalities. libraries in the UK and, and recordings of film titles in over 7,000 volumes) indeed, the world. soundtracks. were added to the database, The five-year TV Audience With funding from the Joint to increase the total number Tracking Study began in 1991. Information Systems The library’s collections A short survey of public and of volumes now documented The project enables the bfi to Committee of the Higher encompass an extensive array academic libraries across the to more than 41,000. understand viewers’ use and Education Funding Councils, of books on all aspects of film UK, asking questions about Together with the indices on appreciation of television. the bfi worked with the British and television, from illustrated their holdings of materials SIFT, to which over 23,000 During this last year, with Universities Film and Video biographies to broadcasting broadcasting sponsorship, Council to develop a pilot policy studies, written in over Essential reading from the bfi: Eisenstein, television viewing analysis of the data has project using film and 15 different languages. More habits, an indispensable modern classic and Television under resulted in the publication of television material across than 145,000 periodicals, the Tories, a review of changes in British broadcasting TV Living which examines the three subject areas: social comprehensively indexed for complex relationship between history, film and television easy reference to articles and television and everyday life. studies, and medicine. This reviews on numerous film and This is one of the ways the bfi service was established at television related topics, has contributed to the debate Glasgow University and originate from more than 45 on the ‘quality’ of production several universities in South different countries. Over two in the fast moving world Wales. million newspaper cuttings, of television. mainly UK published, date In parallel, a bfi Online service back as far as the 1930s. To In 1994 bfi Education began was established for the help library visitors find what its ground-breaking research general public in the bfi’s they are looking for, they have project, the TV Industry National Library reading room access to SIFT (Summary of Tracking Study, trailing a panel in London and at the Information on Film and of 450 people working in Broadway Media Centre in Television). Compiled by the television to investigate the Nottingham, using a link bfi, SIFT is one of the world’s effects on production of sponsored by Cable and largest and most changes in the broadcast Wireless Communications. comprehensive databases industry. Papers about TV Material was provided by the of film and television careers, mothers returning to major film and television information. It is continuously work and the issue of job companies and included updated. insecurity were delivered at extracts from the bfi’s conferences, and a report on Guardian and John Player 100 of the best sound the main findings of the interviews. recordings of interviews and project was produced. These lectures at the National Film were authored by bfi staff, International reputation Theatre since the 1960s were either working alone or in made available in the reading conjunction with partners The bfi’s library was re- room as a new collection, (notably from the Judge christened in early 1998 to together with appropriate Institute at the University become the bfi National listening equipment. Many of Cambridge). Library. With its extraordinary more recordings will be made range of materials, it enjoys a available in coming years, 12 periodical references were Making Movies, a selection of added during the year, this cartoons by bfi Chairman Alan now forms what is surely the Parker CBE, brightened up world’s largest bibliographic Christmas. resource on film and TV. Strong backlist titles included Although the cost of reading new editions of Peter Wollen’s room passes was increased Signs and Meaning in the to create a fairer and more Cinema and Women in Film logical pricing structure, a Noir edited by E Ann Kaplan. record number of visits was When first published these made. Enquiries from users two books helped to define (letters, telephone calls, film studies. A History of emails, faxes), while not quite Experimental Film and Video at 1997/98 levels, were still by A L Rees, supported by a significantly higher than in any season at the NFT, was other year. another highlight of the year. It is the first account of the An exciting year in experimental movement for publishing over 20 years. Lastly, work on television was represented by The year’s highlight was the Peter Goodwin’s broadcasting publication of Camille Paglia’s history Television Under the The Birds which attacted a Tories, a much needed great deal of attention. overview of the many changes Waterstone’s retail outlets in broadcasting since 1979, carried huge front-of-store and Tise Vahimagi’s The pictures of the author, and ran Untouchables, which revisits a lead feature in the in-house the classic, yet neglected, W magazine, sparking off crime serial of the 1960s. renewed interest in the whole bfi Film Classics series. An The 1999 edition of the bfi NFT lecture by Paglia and a Film & Television Handbook, media blitz accompanying her the essential annual guide to visit to the UK created one of film and TV in the UK, our highest profile titles ever. compiled and edited within the library, was again the The Modern Classics series biggest yet, with more facts continued to develop and figures than ever. The momentum with The Three library also published Now Colours Trilogy by Geoff Showing, a directory of films Andrew, a personal view of for children, with Krzysztof Kieslowski’s recommended ages and crowning achievement. Once current availability of 35mm Upon a Time in America by and 16mm prints. It was Adrian Martin contains an distributed widely to cinemas illuminating account of the and other relevant bodies genesis, production and throughout the UK. reception of Sergio Leone’s masterpiece which is rarely The library now has editorial seen in its most complete responsibility for the annual version. The second edition of Media Courses UK, and the Mark Kermode’s bfi Modern quarterly Short Courses Classic was published to Directory. Five new titles in the coincide with the re-release of series of ‘A’ Level packs were The Exorcist, a Hallowe’en ‘98 produced, based on topics bestseller for bfi Publishing. rather than single titles: soap

The bfi published a new edition of E Ann Kaplan’s seminal Women in Film Noir 13 were published and the financial performance of bfi Publishing continues to improve. Sales rose again by 9% on the previous year; more than 86,000 copies were sold. Improvements in US sales and frontlist publishing were most notable.

A new look

Sight and Sound had a successful year, with an average circulation of more than 26,000, exceeding its circulation targets and boosting advertising revenue by 23%. Its readership survey (undertaken approximately every three years) revealed a committed readership with the Now Showing, the bfi’s directory of films for children, and the new bfi guide to the UK film and majority subscribing for at television industry least three years. Purchasers also clearly value Sight and offered The Exorcist the film being picked up for Sound with more than 80% screenplay as a free gift, distribution. The impact of this retaining copies for reference. achieved the highest news- issue was further reinforced stand sale for three years. by the Mediawatch 99 Highlights of the year included December’s issue rounded Education Supplement with its April’s key pieces on Alexei up the year with a piece revelatory articles on the Sokurov and Pedro questioning the ‘British digital future, which sold Almodóvar, a revelatory study Renaissance’ headlined successfully in multiple copies of the British ‘spiv cycle’ and Show me the Culture. to teachers around the UK. the conclusion of The A-Z of Cinema. The May issue was a bfi Deputy Director January 1999 examined Jon Teckman enjoys censorship special with Dogma ‘95 and the shock ‘a good read’ exclusive revelations about the wave of new European film- Mining the riches of cinema operas; disaster movies; BBFC’s attempt to ‘normalise’ makers and Iranian women’s history: the 360 film classics costume drama adaptation; pornography incurring the selection cinema. Controversial pieces horror; and new British Home Secretary’s ire. The on Roberto Benigni’s Life is cinema. These packs help beautifully designed 360 film Beautiful and Terrence students in libraries to find classics booklet was cover- Malick’s The Thin Red Line books, journal articles and mounted with the June issue. dominated the February issue. other materials relating to The Exorcist special issue in specific areas of study. July offered exclusive Finally, in March, the magazine revelations of missing footage. took a sceptical look at recent The seventh edition of Film August looked at Bollywood in US indies and successfully Index International, the CD- Britain and previewed The championed the Japanese ROM based on SIFT, was Truman Show. Duvivier, Alan film After Life. This article led published, with the number of Clarke and Velvet Goldmine to titles exceeding 100,000 for shared the September issue. the first time. Its primary In October there was a importance is in providing an controversial round-table index to journal articles discussion on new British film- available in the bfi National makers. Library and other libraries, via the British Library document November saw the debut of supply scheme. our new design. This issue, which revealed the real Jean During the year, 28 new titles Vigo and Ken Loach and 14 Collections

The bfi has a special role as guardian of the UK’s moving image heritage. For over sixty years the bfi has collected, preserved and shared films and television programmes which have both shaped and recorded our lives over the past century.

15 The UK has a vibrant history this in 20, 50 or even 100 and the Special Materials Film distribution and video

of moving image production – years’ time. Library; and at its specialist publishing film, television and now digital stores for museum collections Film and television – and the bfi’s collections What we do and nitrate films. This care screenings at the National today contain more than encompasses the collections’ Film Theatre (NFT), film 275,000 films and 200,000 TV The activities which the new security, their environmental festivals and cinémathèques programmes. Related Collections department care, individual conservation throughout the world collections of stills, posters, undertakes fall broadly under or restoration work and the The extensive use of designs, scripts and printed care, preserving for the future, recording or documentation of archive material on TV

ephemera such as marketing and access, enabling the collections. It is this The provision of study The bfi is materials, technology, props audiences to learn from and ‘behind the scenes’ effort facilities for specialist placing and costumes have been enjoy the heritage. which ensures that the research into the collections assembled alongside the collections can be used and greater software to give added At the core of preservation lies enjoyed now and in the future. Working with partners also emphasis on context and meaning. the J Paul Getty Conservation sees the bfi’s collections on the use and Centre in Berkhamsted, film collections, particularly The bfi is now placing greater loan in museums and art enjoyment All these collections are now Hertfordshire. This is the base those on nitrate. An intensive emphasis on the use and exhibitions, used in a wide ‘ ‘ cared for by the new bfi of the National Film and and complex programme of enjoyment of the collections: range of publications and as of its Collections department which Television Archive/ duplication therefore allows they should be both a educational materials for collections: has a twin purpose: to collect Preservation section of the the archive to keep ahead of reflection of the lives of, and a almost every category of ‘‘and preserve the UK’s moving department. Paper, video and the loss of material through learning tool for, everyone in subject on the 20th century. they should image heritage; and to share it particularly film collections are age. This programme also the UK. be a reflection with the broadest possible notoriously unstable, and the produces a wide range of Building a national of the lives range of audiences. The environmentally controlled possibilities for access. The massive range of collection of, and a department’s work is therefore storage and professional collections held by the bfi both immediate and long- monitoring at the Care of the collections also enables it to reach audiences The cycle in a collections- learning tool term. It means that not only Conservation Centre prevent takes place at the through a range of media: holding body begins with the for, everyone can you see a film, read an rapid deterioration. But even department’s public access The exhibitions and act of collection itself for in the UK original script or learn from the state-of-the-art points: the Museum of the educational work of the which clear, operating policies museum technology today, Conservation Centre cannot Moving Image, the Stills, Museum of the Moving and criteria have to be set out but that you will be able to do stop the gradual decay of the Posters and Designs Library Image and followed.

The J Paul Getty Conservation Centre, Berkhamsted 16 living in Harrow and to people in film and working for Kodak. This television. The highlight of last collection spans from the year was its acquisition of late 1920s to the early three original cast iron 1970s during which a octagonal Mutoscopes on marriage united the families pedestals with their and their film collections. accompanying photographic reels. Also collected was a UK television is represented in scarf worn in Olivier’s Hamlet the collections by the (1948) and a 1955 White- recording of original British Ibbotson teleprojector. production, alongside sufficient representative The department’s Special material to ensure that the Collections comprise original general look and feel of each documentation relating to the channel is preserved. Most history of film and television, material is recorded directly again with particular emphasis from transmission, but past on Britain. Amongst last year’s programming is also donated donations were papers by broadcasters and regional belonging to BBC TV ITV shows can be purchased. producer Andrew Curry; Rescued footage from Chaplin out-takes More than 20,000 titles were co-founder of London Films, acquired last year, amongst Lajos Biro; and actresses With British production at its record of the development them the World Cup finals and Dinah Sheridan and Jean core, fiction film is gathered of one the UK’s major a fine collection of two-inch Kent. Scripts were donated which represents narrative industries, this collection tapes from the 1960s and from the BBC TV series Birds film-making from the whole of holds a pivotal place in the ‘70s, including a complete run of a Feather. film history. Material is development of British of The Stanley Baxter Show acquired through donation, documentary film and from BBC Scotland with some The Stills, Posters and and last year 2,000 titles were contains significant work by untransmitted footage. Designs collections added to the collections, half important directors. encompass images from all of which were VHS cassettes The Museum of the Moving sources and periods of film retained specifically for The Osborne family Image collects material used and television and come from research viewing. Highlights of collection – a unique social in the production and post- both commercial and private the year’s acquisitions include record of the lives of two production of film and donors. Highlights of last year the British cut of Hitchcock’s suburban families, the television, and memorabilia were acquisitions of BBC held at the J Paul Getty La Grande Illusion was Strangers on a Train (1951), Osbornes and the Tiggs, and personal effects relating material from the 1970s Conservation Centre. Work is another 360 film classics acquisition the Renoir classic La Grande and ‘80s. undertaken constantly to Illusion (1937) and British A new archive find – the British cut of Strangers on a Train improve the environment in silents such as The Return of Preserving for the which the collections are the Rat (1928). future stored, and to refine and improve the restoration and The documentary film Last year saw significant duplication processes. The collections reflect the widest developments in the care of overhaul of the fan coil air possible experience of 20th the bfi’s collections, headlined conditioning system and the century life, particularly in by the project, An Archive for replacement of all 140 valves Britain. Last year, 1,452 titles the 21st Century enabled by will guard against flooding. were acquired including a funding from the Heritage The replacement of heat range of artists’ film and video Lottery Fund. pumps and the fixing of work through collaboration racking tightened the with the Arts Council of The project also benefited environmental conditions in England. from the continuing generosity the Acetate 1 store, where of Sir J Paul Getty, the bfi’s both master and viewing Two notable newly-acquired key benefactor. copies are stored. The documentary collections were: production of three new gates British Transport Films – J Paul Getty for the CTM Debrie TAI printer a record of Britain from the Conservation Centre will enable the centre to print early 1950s seen from film which has shrunk by various angles relating to The greater part of the film whatever extent to aspects of transport. A and television collections are satisfactory standards, 17 South and Hitchcock’s The handling, a variable Lodger. Perhaps the most environment or security risk. difficult task in restoring South Improvements therefore (subsequently a major hit) was continue to be made to their to work out the exact order of care at the bfi’s access points. the many feet of film and the hundreds of stills, since no The Museum of the Moving reliable guide to the length or Image completed its order of the original film exists. preventative conservation project which improved the Other sites security and microclimates of the objects on display through Last year, with the support of overhauling all aspects of the the Heritage Lottery Fund, museum’s cases, from locks three new state-of-the-art and sealants to environmental bfi Director John Woodward opens the new facility at Gaydon nitrate vaults were built and monitoring equipment and opened at the bfi facility at potential pollutants. improvements. Immediate before it can be shown on a Gaydon, Warwickshire. The work included the re-sleeving screen or the information environmental conditions The rolling programme of of more than 2,000 prints in about it disseminated. Material maintained in these new remedial conservation work polyester sleeves and the is selected either because it is vaults rank among the best in continued, and included the relocation of the 800 albums about to decay, or because it the world, and simultaneous Frankenstein stand-in model, of publicity stills in a stable is a priority for access. improvements to the air the display praxinoscope and environment. A conservation handling units were made in the relocation of the television project on over 400 Alfred Last year, projects which the 1978 nitrate vaults. outside broadcast van. Junge set designs dating from began or completed 1933 to the 1950s was duplication include: the De A major reorganisation began In the Special Collections unit, completed and conservation Forest Phonofilms, a unique in the Museum of the Moving the continuing microfilming of work was undertaken on collection of early British Image’s store for reserve press books preserved the posters and designs for loan. sound films of music hall acts collections. This will enable original material, and data on Catalogue records were and bands; the remainder of Identifying the running order of many feet of film was the key more objects to be stored in the collection of press and simultaneously created for the the British Movietone News to the bfi’s successful restoration of South specialist conditions and campaign books was added photographic album and issues for the nitrate period; physical access to them to the SIFT database through Junge collections. The library and work on the creating potential for access to be improved. a grant from the Esmee re-opened in June 1999 with Visnews/Reuters newsreel to large amounts of unseen Fairbairn Charitable Trust. new facilities for users. collections, which embrace material. Research and testing Care at access points The Stills, Posters and material from British into the original dye formulae Designs Library undertook a The Cataloguing unit both Paramount, Gaumont used in the tinting and toning Collections are usually most six-month audit of its records and gives access to Graphic, Gaumont British of early silent films was vulnerable at the point of collections in order to assess information about the bfi’s News and Universal. applied in the restorations of access, whether through their condition and plan collections. It undertakes specific projects to make Access demands drove the material available. Last year prioritisation of a range of these included the archive’s British Rail footage and the polar expeditions collections potential for a video release supporting the White also motivated the work on Wilderness season at the 1920s documentary the NFT and the restoration series, Wonderful London. and release of South, and the shortlisting of pre-1960 Archival work in progress television holdings and early TV variety shows.

Duplication

Film and television material goes through a number of rigorous processes of examination, comparison,

New nitrate film vaults were selection of elements, built at the bfi’s Gaydon site duplication and cataloguing 18 Access for all

Although in need of larger exhibition space, the Museum of the Moving Image still provided the most comprehensive point of access to the bfi’s collections to the broadest range of audiences. It achieved this through its main display, temporary exhibitions and full range of educational events, workshops, activities, screenings and lectures. The museum was visited by families, schoolchildren, students, adult education and special needs groups, and tourists from the UK and overseas.

The museum celebrated its 10th birthday in 1998 and its main display underwent considerable refurbishment A cover from TV Mirror promoting television’s legendary pop and updating. This included a show, Cool for Cats reinterpretation of the world cinema section to reflect Work was also completed on preservation, through the better the geographical and a number of early cinema transfer of obsolete two inch cultural diversity of film- collections from private videotape to digibeta. making and the upgrading of donors, which included the early moving image material by RW Paul, Lumière The contract with the HLF elements such as Méliès and and Birt Acres. A remarkable was signed in May 1998 and Cinéma Optique. New piece of innovative repair was this first year of the project graphics were installed in the achieved with the creation of has been concerned Hollywood and television a gelatin solution to reapply principally with set-up. In studios and a special display the emulsion to the base of a addition to the nitrate vaults at of original cels, artwork and very early and historically Gaydon, construction of models featuring the Rugrats important x-ray film. temporary accommodation for was undertaken in partnership the additional staff was with Nickelodeon UK. An Archive for the 21st completed at the J Paul Getty Century Conservation Centre. Some There were two major special 40 staff were recruited and exhibitions last year. The The Archive for the 21st trained in their specialist summer exhibition, in Century project supported by areas. A computerised subject partnership with Warner Bros, the Heritage Lottery Fund indexing system was created was Quest for Camelot – (HLF) seeks to ensure the to replace manual systems, Myths, Movies and the Magic long-term preservation of, and and the installation of a Sword, a unique display of increase access to, the large computerised monitoring original artwork, models and volume of material which has system allows the efficient development work from the flowed into the archive in charting of the work through film The Magic Sword and recent years. The project will the Conservation Centre. Live other Camelot-themed mean that all these collections work on both the film and movies. This was followed by may be brought into use and video aspects of the project that duplication and access began in December 1998 and can take place. It also new viewing copies of films Original artwork, models and development work were part includes the first ever will begin to be produced of the Quest for Camelot programme of videotape in 1999. exhibition 19

the successful Ooh! What a the NFT before the matinee including Odeon, UCI and Carry On exhibition, show. Virgin mainstream cinemas, as celebrating 40 years of the well as independent screens. British comedy institution. This Adult education at the

fun and interactive exhibition museum included practical Jean Renoir’s La Grande featured original props, film-making courses, First Illusion (1937) played in the posters, stills and press books Tuesday lectures, an West End for over two from the bfi’s collections. animation evening class, Adult months and audiences were Learners’ week and teacher urged by the press to catch Displays in the Foyer Gallery events. up on the greatest anti-war More than primarily used materials from statement of all prior to the the Stills, Posters and Designs In 1999 the museum closes releases of contemporary war ‘ 25,000 ‘ Library. They included Black in temporarily pending the films Saving Private Ryan and children the British Frame, Gertrude redevelopment of the South The Thin Red Line. The print were Lawrence – a Star Danced, Bank. While the new site – was struck from the original introduced to Behind the Scenes and Latin alongside the bfi’s other public negative which was removed Lovers, all complementing activities – is being designed to Berlin in 1940 and was film history NFT seasons and education and built, the museum’s thought to have been and the bfi’s events. access and educational destroyed. collections activities will take place The animation cel wall area throughout the UK. A major The reissue of King Vidor’s ‘‘ Forty years of a British comedy institution were celebrated at through featured displays of original the NFT and the Museum of the Moving Image touring exhibition will begin in The Fountainhead (1949) led education material from The Simpsons, 2000. to its re-evaluation in the light programmes the 75th anniversary of Assisting in Animation course preparation. The sessions of current thinking on art and Warner Bros and the Loony offers comprehensive training were fully booked and more Film releases architecture. bfi Collections Tunes, Dangermouse and in traditional two-dimensional than 25,000 children were Access worked with the Royal British animator Joanna animation to junior introduced to film history and Films distributed from bfi Institute of British Architects Quinn, while the Colonnade professionals working in the bfi’s collections. collections play in over 200 (RIBA) to promote the film to Gallery showed a animation studios throughout cinemas and 100 film the architecture community photographic exhibition of the UK. The course which Key Stage 3 and 4 drama societies, plus museums, and film-goers. A sell-out stills from the best British films began in October 1997 was sessions were devised and galleries and educational screening introduced by the of the last decade to celebrate successfully completed by 12 developed for older students, venues UK-wide. Last year’s Young Architect of the Year the museum’s tenth birthday. trainees, of which four including Film and releases covered the range of was jointly organised with the The Red Gallery featured work received a merit award. Propaganda, News from No- film history and potential British Academy of Film and by school and college pupils Man’s land, The Hollywood audiences, and were seen by Television Arts (BAFTA) and based on their visits as well as A BATS Summer School was Studio System, Public Service over half a million people. RIBA. the museum’s special run in July and August for Broadcasting and exhibitions. ‘A’ Level students considering Storyboarding. Areas of the The most successful reissue The re-release of Michael careers in animation. National Curriculum covered was John Boorman’s Point Curtiz’s The Adventures of The Channel 4/Museum of the were History, English and Blank (1967), which received Robin Hood (1938) celebrated Moving Image Animator in A major development in Science and Design. strong press coverage and re- the film’s 60th anniversary and Lee Marvin (left) and director Residence scheme is a high- museum education saw the evaluation of its cool reached large audiences of John Boorman discuss a shot on the set of Point Blank profile initiative giving four introduction of a range of Study days for GCSE and treatment of violence, sense children. It played in more animation graduates the schools resources suitable for ‘A’ Level students included of urban alienation and hip than 130 venues and was opportunity to develop their Key Stage 2 pupils (aged 7-11 Shakespeare on Screen, modernism. The film played booked solidly through own original ideas for a short years), addressing core British Cinema, News Days widely, at 115 venues, successive school holidays. animated film with a view to subjects within the National and Film as Evidence. commissioning by Channel 4. Curriculum: Entertaining the The Fountainhead, an It also allows museum visitors Victorians, Entertaining the Half-term and holiday activities inspiration for cinema-goers to see and talk to the Nation, and Light and Action! in the museum were interested in art and animators at work. This year’s developed alongside Junior architecture award winners were David These innovative packages NFT programming, Evans, Lizzie Oxby, Lucy Lee comprise an actor-led complementing the holiday and Bunny Schendler. interactive drama session, a matinee screenings as well as The British Animation Training trail of gallery activities as part the museum’s special Scheme (BATS) was of a museum visit, an exhibitions. They included film established at the museum educational pack with set design, special effects and five years ago to offer historical research, ideas for animation. Children taking part vocational training to young practical activities and project in the animation workshop animators. The 30-week evaluation sheets, and teacher saw their pictures screened in 20 Slatan Dudow’s film of Brecht’s Kuhle Wampe (1932) was promoted jointly with the Brecht goes to the Movies season at the Goethe-Institut and after its NFT run went on a national tour supported by educational events.

A contrasting success was the release of the contemporary gay shorts Majorettes in Space: Five Gay Tales from France. This programme gave audiences the opportunity to see the work of the celebrated director François Ozon prior to the release of his first feature, Sitcom.

Classic cinema formed the backbone of the remainder of the year’s releases: Tourneur’s Out of the Past (1947); Bellochio’s Fists in the Pocket (1965); Duvivier’s Pépé le Moko (1937); Cukor’s The Philadelphia Story (1940); and Hawks’s To Have and Have Not (1944).

Two catalogues of films available through distribution were produced: Hollywood Greats, which listed holdings of classic Hollywood pictures; and Ethnic Notions, to coincide with the New Futures for Black British Film conference at the NFT. bfi Video Publishing released some 30 films to the home video sell-through market. Its principal audiences are universities and colleges, specialist arthouse viewers and an increasing general public. This is being further developed by a move into the mainstream rental market as bfi Production’s Under the Skin and Stella does Tricks were listed in Blockbuster stores.

Re-evaluating urban alienation: Point Blank 21 (1963) and I Live in Fear restoration and enjoyed (1955), and Carl Dreyer’s widespread praise for the Master of the House (1925) quality of its colours. and Day of Wrath (1943). Work on a new tinted and The launch of a world cinema toned print of Hitchcock’s for children season began silent classic The Lodger, was with the releases of Bag of started in preparation for the Rice and The Boy who 1999 centenary. Production of Stopped Talking, to coincide a new tinted and toned with a UK tour. The bfi’s version of Abel Gance’s reputation for quality Napoleon, enabled by a grant animation on video was of £40,000 from the Eric increased with the release of Anker-Petersen Charity, was The re-release of The Adventures of Robin Hood made the the second volume of also started. cross-over to mainstream cinemas Animation on 4 and the award-winning Caroline Leaf public alike. Future archive Regular programming from The year was launched with a made available for the first compilation, Out on a Limb. restorations will include Silent the archive increased with an double bill of British B-movie time on video in the UK Shakespeare and Silent additional slot being added to thrillers The Last Journey and included Mizoguchi’s Ugetsu The year’s video bestseller Dickens. Sunday Silents and In Fact The Ghost Camera (1933-35), Monogatari (1953) and was the bfi restoration of strands. Highlights included complete with an informative Sansho Dayu (1954), South, which captured the Through a wide range of tributes to Sidney Cole and

gatefold sleeve and Kurosawa’s High and Low imagination of media and means, some 500 films a Mischa Spoliansky and appreciation of director month from bfi Collections presentations of Der Golem Bernard Vorhaus. The Film classics released on video by the bfi included Ugetsu play in a variety of venues (1926) and Haxan (1921). The Fassbinder collection was Monogatari (below), Master of the House (above right) and throughout the UK. Any bfi contributed four features to Sansho Dayu (below right) extended with the release in cinema with suitable the Douglas Fairbanks Tribute May of Chinese Roulette projection facilties may rent at Il Cinema Ritrovato in (1976), Veronika Voss (1981) prints and the success of Bologna, including a fine and Ulli Lommel’s The Point Blank and The restoration of The Black Pirate

Tenderness of Wolves (1973), Adventures of Robin Hood which was the opening gala; which he produced. has begun a cross-over of to an Adrian Brunel titles into mainstream circuits programme and a number of Last year witnessed the start and audiences. shorts at Pordenone; and to a of a serious commitment to major British non-fiction series distribute silent cinema, Archival screenings at the Museum of Modern Art beginning with the reissue of in New York. early classics from Cecil B bfi Collections’ principal ‘ ‘ DeMille, Carmen (1915), Joan showcases are the major In addition to the archive the Woman (1916), and The archive restorations. The great strands at the NFT, special Some 500 Whispering Chorus (1918). technical and public material from bfi Collections films a month The bfi’s silent strand achievement of last year was continued with Photoplay the painstaking restoration of from bfi restorations of Lon Chaney’s South from many different Collections Phantom of the Opera (1925), copies including original play a variety and The Chess Player (1926). nitrate negatives. The new of venues prints were tinted and toned Special editions were released to match the colours used in throughout of Pabst’s The Threepenny the original release prints. This the UK Opera (1931) – in both culmination of several years’ ‘‘German and French versions work was premiered to two – and Vertov’s Man with a packed houses at the NFT Movie Camera (1929), this and released on video. time in a silent version and with a commentary by The British Technicolor® Russian film historian Yuri restoration of The Importance Tsivian. Both provided of Being Earnest, presented at excellent teaching resources. the London Film Festival (LFF), was the archive’s first major Classics of world cinema safety-period Technicolor® 22 Explorer Ernest Shackleton immortalised in South

interest in silent film. It has also supplied prints and programmes for the coming year’s centenaries of Bogart, Laughton and Hitchcock which will be shown in New York, Paris, Barcelona, Valencia, Vienna and Copenhagen.

Some of the bfi’s rarest films were shown at the Tribute to the bfi at the last Cinefest in Syracuse, USA.

Rights sales

For a wide range of audiences access to the bfi’s collections comes through the selling of rights to bfi Production films; the selling of archival footage material for television and documentary use; and the supply of material to donors and other stakeholders. Income generated from sales and other means of access helps to pay for the care and educational use of the collections.

After several years’ work, South was available for audiences to enjoy on the large and the small screen The emphasis in rights sales is on co-operating with the was shown in the Chewits bfi Collections went on tour worldwide showed material also supplied for the 1998 Preservation section of the Movies for Kids season and around the UK in a That’s from bfi collections. Last year Thessalonika Festival’s department on a joint the Windrush Kids Cricket programme of classic there were sell-out screenings complete Ken Loach programme of preservation programme. Material was archive cricket footage of Kuhle Wampe and Nights retrospective. and rights clarification for the also supplied for education presented by David Frith, and of Cabiria at the Edinburgh 50 years of bfi Production, events organised by the The Importance of Being International Film Festival and bfi Collections Access co- which aims to create a museum, most notably the Earnest which was part of the an archive programme was programmed the first ever working back catalogue. Last Shakespeare on Screen LFF on tour. shown at the Cardiff British Silent Cinema weekend year more than 90 deals were event, which included archive International Animation at Phoenix Arts in Leicester, completed on bfi Production films and TV programmes. Archival and other film festivals Festival. Archive prints were with the aim of increasing titles, principally Love is the 23

Devil and Under the Skin. The collections. Materials covering over 11% on the previous first was showcased at the their region or nation are also year. Filmographies for

1998 Cannes Film Festival, supplied to the UK network of researchers were produced while the second has been archives and to partner on Avant Garde Cinema and sold for theatrical distribution archives worldwide. For Irish History and the Troubles. in all major territories. Sales instance, the Academy of were also made for South and Motion Picture Arts and The Museum of the Moving for the bfi TV production Lee Sciences received footage for Image carries out its own Marvin, a Personal Portrait. its restorations of Moby Dick research for its exhibitions and and All the King’s Men. events, and also runs an ‘ Archival ‘ The largest user of archival enquiries and research service footage from the collections is In an unusual example of for visitors, principally on footage sales television, for both newscasts access, the Government’s moving image collections and ensure that and documentaries. Other Bloody Sunday enquiry was objects. Enquiries from both material from commercial users include supplied with sound the public and the film the bfi’s software licensing companies recordings of the shootings in industry included a significant and museums. This selling of order to make sonic tests to increase in ‘identifications’. collections archival footage ensures that determine the provenance of is seen by material from the bfi’s the first shots fired. Researchers, academics and millions of collections is seen by millions other visitors come from all ‘‘of viewers every year. Research use over the world to view unique viewers footage, features and In 1998 material was seen not In addition to reaching broad television programmes at the only on all British television audiences, bfi collections bfi. Last year saw a proactive channels, but on CBS, NBC can be used in a number of project to view and catalogue and PBS in the USA. Museum ways for research access. all the Chaplin out-takes. use included excerpts of Both the Stills, Posters and South at the American Designs and the Special In addition to the widespead Museum of Natural History, Materials Library are open to dissemination of the film and and software use included the share collections and TV collections, the bfi’s National Geographic’s website information with specialist holdings are accessed on the opening of researchers, whilst direct through loans to other Tutankhamen’s tomb. access to information is given institutions. Examples in 1998 by the Cataloguing unit and included the museum’s loan of Special access is provided for access to films and television Ben Cross’s blue blazer from donors, rightsholders and programmes by the Viewing Hugh Hudson’s Chariots of other stakeholders to their Service. Research access to Fire to the Warner Bros materials held in the bfi’s the Stills, Posters and Designs museum in Burbank for a collections was increased to 75th anniversary exhibition, five days a week to meet and a Carry On script from demand prior to the unit’s the Special Collections to the audit. Royal National Theatre for its production of Cleo, Camping, Students, lecturers, film Emmannuelle and Dick. historians and researchers Desperately Seeking Zebedee. north-east of England to from all over the world came The greatest partnership work ensure commitment to the to use the bfi’s Special is undertaken by the Stills, Under the auspices of the long-term development of the Collections for research Posters and Designs Library. former Regional Development archive and to open up its purposes. Special Last year, this included loans Unit, the bfi contributed collections by organising appointments and bfi to BAFTA for the new David financially to a number of key themed events and members’ open days also Lean room; to the Imperial regional archives. The funding educational activities. gave access to the reserve War Museum in London for was to extend the range and collections held at the J Paul the exhibitions From the work of these archives and Getty Conservation Centre. Bomb to the Beatles and facilitated key projects with The First War Remembered; strong regional significance. While almost 500 researchers to the Museum of Modern Art The largest of the awards visited the Cataloguing unit, in New York for its exhibition went to a three-year Access to bfi collections, the 5,000 plus written and Alfred Hitchcock: Behind the programme to establish a amongst other channels, may be via the video viewing telephone enquiries Silhouette; and to the Northern Region Film and service (left) or the Museum represented an increase of University of Brighton for Television Archive based in the of the Moving Image 24 Exhibition

1998/99 has been an exciting year, packed with special screenings, seasons and events. It was, of course, a year of transition, as the department re-structured and set out plans for the future.

25

The bfi aims ‘ to stimulate‘ appreciation of a wider range of films than currently ‘provided‘ by commercial cinemas

Samuel L Jackson shares his experiences with Richard Jobson and cinema-goers at the NFT

The bfi’s new Exhibition bfi supplies programmes to audiences UK-wide. The extensive research and bfi is hoping to stimulate more department will continue to cinemas throughout the department is also responsible consultation before publishing screenings in cinemas of present a culturally diverse UK, accompanied by for the programming and the UK-wide cinema exhibition culturally interesting films and, programme of activities that complementary education presentation of various strategy document in 1999. in the longer term, to increase speaks to many different work. festivals, most notably the the audiences for this audiences. The main aim is to London Film Festival (LFF) and This is intended to identify material. stimulate appreciation and The NFT provides its national tour. both a wide range of understanding of a wider comprehensive, innovative opportunities to reinvigorate Also during this year the bfi range of material than and authoritative programmes Throughout the last year, the cultural cinema exhibition created a new initiative, the currently provided by on world cinema for Exhibition department, throughout the UK and a new Film Festivals Fund, to provide commercial cinemas. In audiences in London and working with other bfi range of partnerships for the grant aid to small and large pursuing this objective, the touring packages of films to departments, undertook bfi to develop. In so doing the festivals across the UK. 26 viewing reports, sector Institute, this news and details of touring programme material. explored trends in new Norwegian A rich diet of cultural cinema and screened in nourishment 24 locations including several new partner venues. The department organised an extraordinarily diverse range Made in Prague of titles for touring This small season of programmes which were contemporary Czech offered widely amongst the cinema, co-ordinated in exhibition sector. These tours association with the Czech This successful Bristol-based festival toured the UK were supported by marketing Centre, secured regional materials and education screenings following a The Exhibition department It also oversees a range of packs to assist participating launch at London’s and the NFT in particular was mechanisms delivering cinemas with audience Riverside Studios. responsible for co-ordinating essential funds and assistance development. and preparing for the bfi’s to a number of cinemas. This Classic Bogart pan-institute project – the includes programming and Highlights of the year This centenary programme Ultimate Hitchcock – supplying films, marketing, of Bogart classics included celebrating the centenary of funding and development Chewits Movies for Kids several new prints together the master director, which support. This major programme of Chewits Movies for Kids with Warner Bros animated reached younger audiences was due to begin in August screening and education shorts featuring caricatures 1999. bfi Cinema Services material for younger viewers of Bogart & Bacall. orchestrates new commercial incorporated a new attracting national press A unified approach to and non-commercial Dutch/Turkish title The and media attention. Fassbinder exhibition activities partnerships, strengthens Boy who Stopped Talking, Curated by the NME film A limited tour of Fassbinder existing partnerships and as part of a drive to editor Gavin Smith and films extracted from the Cinema Services is a new offers support to film societies encourage youngsters to sponsored by Dr Martens, NFT season championed section of the department as well as festivals. The experiment with subtitled this tour featured a wide- two imported prints, Fear of UK audiences could sample which brings together the bfi’s section also plays a key role in material, and a number of ranging music-based Fear and Mother Kusters music films (above) or new cinema activities. Its aim is to formulating policy with other themed shorts programmes programme, incorporating Goes to Heaven, enabled trends in Norwegian cinema formulate and implement a organisations such as Lottery tackling issues of bullying new music videos, concert by the Goethe-Institut. (below) strategy for cultural film Fund distributors, Regional and racism, all supported films and rockumentaries. exhibition throughout the UK. Arts Boards and Media by education workshops. Development Agencies. 12th London Lesbian & Highlights from the London Jack Smith Gay Film Festival Lesbian & Gay Film Festival Throughout the year, Cinema Working with London’s Lux (LLGFF) on tour went on tour Services staff provided Cinema and the American Highlights from the most programming advice, direct Museum of the Moving successful LLGFF to date booking and publicity facilities Image, bfi Cinema Services went on tour for four to 28 regional film theatres. co-ordinated regional months attracting They also took over the screenings of a selection of audiences of more than responsibilities of the former the films of US avant garde 6,000. Regional Development Unit for film-maker Jack Smith grants and support relating to whose work with Ken Bristol’s Brief exhibition. Jacobs established him as Encounters Short Film a key figure of the New Festival on tour The team worked closely with York underground film This ‘highlights’ programme colleagues at cinemas around movement. took the best new shorts the UK to ensure a spread of from Bristol’s prestigious rich and varied cultural NME on Tour festival on a pilot tour in a programmes. A new monthly This was one of several new initiative to exploit and mailing was compiled for programmes of highlights promote regionally curated independent exhibitors in extracted from NFT material. order to foster information- seasons which sharing. This consisted of new subsequently toured the Visions Of Norway release intelligence, news of UK, capitalising on Curated in association with print availability, festival imported prints and the Norwegian Film 27 The Deal Regional Exhibition Project Belfast (Cinemagic), Directors from a number of Oberhausen and Sao Paulo, This was a feature-length Fund. These included Manchester (Cornerhouse), the larger regional film amongst others. programme of new short Bollywood screenings in Sheffield (Showroom) and theatres attended a short films produced by the bfi, Nottingham; Cinemagic, the others. Participants were course in Edinburgh. Creative Capitalising on a Channel 4 and the Northern Ireland International invited to attend a two-week Business Planning for Cultural capital idea Northern, East Midland and Film Festival for Young intensive course in cultural Exhibitors covered topics such Yorkshire Production Funds. People; and archive film programming at Birkbeck as strategy and change The NFT continued to attract touring programmes in East College, University of London. management. A one-day audiences to a diverse bfi Cinema Services also took Anglia and Yorkshire. seminar for cinema staff programme of film and a number of specialist titles Unravelling the Net was a Teaching the Teachers, held in television embracing the best including Sixth Happiness, The Negritude screenings of course developed in Sheffield, focused on what of both contemporary and The Life of Stuff and the New black films in Bristol - a two- collaboration with Brighton could be achieved with very historical work from around Zealand hit Topless Women day event highlighting the Lighthouse, designed to low budgets and staffing the world. Attendances Talk about their Lives into presence of black people in introduce the research and resources. throughout the year were limited distribution, ensuring Britain since World War II - promotional potential of the buoyant, making the NFT one their availability to exhibitors was organised by the Black internet to education and Alongside the research and of the world’s busiest The 1998 bfi Sutherland Trophy jury comprised and audiences across the UK. Pyramid Film and Video marketing staff from regional promotion of touring material, cinémathèques. Indeed, it (clockwise from top left) Project and the Watershed independent cinemas. bfi staff contributed to sector recorded more than 176,000 Geoff Andrew, Samantha Encouraging cultural Media Centre. It was funded debate through COMEX, the attendances in 1998/99, a rise Janus, Jason Flemyng, diversity by the bfi. A course for film society Consortium of Media of over 12.5% on the LFF Deputy Director Sandra Hebron, Ekow Eshun, members wishing to upgrade Exhibitors. They also previous year. Jennifer Ehle, Andrew Eaton, During the year, the Other initiatives and events from 16mm to 35mm participated in specialist film Laraine Porter, Elizabeth department provided funding included the award of cultural projection was run in festivals at Socchi, Russia and In its first full year of operation, Karlsen, LFF Director Adrian Wootton and Carmen for a variety of film projects exhibition bursaries to association with the British San Francisco, as well as the riverfront Film Café went Menegazzi across the UK through its individuals recruited from Federation of Film Societies. short film festivals in from strength to strength. It

28 during the year of around Continued support for 2,000 different feature and perennial favourites short films, television programmes and videos. The NFT continued its policy of presenting extended runs A cinema for all seasons of re-issued titles, frequently in collaboration with bfi Highlights of the NFT’s year Collections. These included the phenomenally presentations were often successful first-ever complete devised to complement UK retrospective of the work retrospectives, or to show of Rainer Werner Fassbinder, films that might otherwise not organised in collaboration with The bfi’s riverfront Film Café receive theatrical presentation the Rainer Werner Fassbinder in the UK. Titles presented Foundation. Hailed by many forward this year through a Themes as diverse as Hammer included Out of the Past as the undisputed genius of collaboration with silent Horror, cinematography, sound, (1947), Sixth Happiness (1997), new German cinema, his cinema advisors Photoplay the theremin in film and rare Point Blank (1967), The 40-plus feature films Productions. A season based early ‘30s films from Columbia Designated Mourner (1996), constitute one of the most on the work of one of the Pictures were explored. Kuhle Wampe (1932), Topless stunning achievements of the great matinée idols of the Women Talk about their Lives provided audiences and post-war period. silent era, Ramon Novarro, A season of avant-garde films (1997), The Philadelphia Story visitors to the NFT, Museum of featured a special programmed by Al Rees, (1940), Pépé le Moko (1936), the Moving Image and the The continuing popularity at presentation of the 1925 research fellow in film at the The Merchant of Four Seasons South Bank with a the NFT of Japanese cinema epic Ben-Hur. Royal College of Arts, plus (1971), The Fountainhead comfortable, relaxed was proven with seasons Pulp guitarist Mark Webber (1949), To Have and Have Not environment in which to enjoy devoted to Yasujiro Ozu and The centre-piece of the White accompanied the publication (1945) and Kini & Adams refreshments. The Film Café Shohei Imamura, both co- Wilderness season was A History of Experimental Film (1997). welcomed over 650,000 presented with the Japan South. The National Film and and Video 1945-1990. A visitors in 12 months. Foundation. Television Archive (NFTVA) further collaboration was A variety of regular monthly Additionally, and crucially, it restoration of this unique a series of screenings linked features complemented the yielded valuable income to the The NFT’s commitment to record of Shackleton’s to the latest bfi Modern NFT’s season-based NFT to support the screening silent cinema was carried Antarctica expedition was a Classics titles. structure. These included the sell-out attracting enormous UK-wide publicity.

Other successful seasons focused on directors such as the internationally acclaimed African film-maker Idrissa Ouédraogo, Italian horror maestro Mario Bava, master of film noir and psychological realism Julien Duvivier, the world’s best-known Danish film-maker Lars von Trier and William Friedkin. Performers such as Paul Robeson, Veronica Lake, Terry-Thomas, Lee Marvin, Humphrey Bogart, Bruce Lee, William Powell and Myrna Loy were all celebrated.

Unique aspects of national cinemas were presented, including contemporary Greek work and black British film which accompanied the New The dragon, the cad and the Italian horror maestro: Futures for Black British Film just three of the NFT’s conference hosted at the NFT. successful seasons 29 Sunday Silents slot, which ’70s-’80s. A special screening opportunity for the general been screened publicly before featured titles as diverse as of BBC TV’s Our Mutual public, rather than the and is one of the earliest Witchcraft through the Ages Friend was attended by many television industry, to delve known cricket films in colour. with an accompanying lecture of the cast and crew. deep into the art of by Ken Campbell, the famous programme-making, and the The NFT also hosted The silent version of Arthur Conan The NFT also developed more chance to meet those working Story of the Century, a three- Doyle’s adventure story The seasons encompassing both in the business. day international newsfilm Lost World, and Buster film and television, as in the conference, organised by the Keaton’s classic The General. season of Henry James Sport was again represented NFTVA jointly with the The Archive Presents and In adaptations. Other TV with Hard, Fast and Beautiful, Federation of Commercial Fact slots were presented to highlights included the annual a short season of films for Audiovisual Libraries, the appreciative audiences. All Missing Believed Wiped event tennis fans in May with a Imperial War Museum and the three strands were which turned up ‘lost’ special evening of archive British Universities Film & programmed by the television programmes such footage programmed by the Video Council. This Collections department. as a 1958 edition of the NFTVA featuring tennis stars considered issues as diverse legendary pop show Cool for from the 1910s-1950s. as dramatisation of the news, Another popular regular Cats plus early work directed media hysteria and the Cold feature proved to be the by Ridley Scott. The ever-popular annual War, and examined the Friday Favourite strand which Archive Cricket Evening took reporting of a number of focused on personalities such Two of the most powerful and place in August preceded by historical events which had as Luise Rainer and Jean controversial dramas seen on a tour of some of the gems anniversaries during the year. Marais, one of the greatest television over the past 15 from the NFTVA’s vintage stars of French cinema. A years were showcased in cricket collection to ten Face to face with distinguished theatre actor, August. Alan Clarke’s Made in venues in the UK and Ireland. people who make Marais’s collaborations with Britain and The Firm were This year, the evening cinema what it is Jean Cocteau have left behind seen as disturbing accounts celebrated the South African some of the most enthralling of modern day society when tourists with newsreel footage The highly popular series of and unforgettable images in they were first screened from the 1920s and amateur Guardian interviews continued cinema history. during the ’80s. TV98, the film from the 1950s. An into its 19th year. Under its second annual television additional gem to delight banner the NFT welcomed Junior NFT continued to festival – supported by British lovers of the game was guests including Whoopi provide a wide range of films broadcasters – took place in extremely rare private colour Goldberg and Camille Paglia. for younger audiences September and included well- footage from 60 years ago Often these on-stage events including fairy-tales from the received sessions on handed over by a member of were linked to special former East German studio docusoaps and writing the audience at the previous previews of films, as in the DEFA such as the cult classic popular drama, plus special year’s Denis Compton tribute. cases of Ken Loach (My The Singing Ringing Tree. previews of new dramas. This This film of the famous 1938 Name is Joe), Samuel L provided an invaluable Test at the Oval had never Jackson (Eve’s Bayou) and Other regular strands included Re-View, Desert Island Film-maker Idrissa Ouédraogo’s work gave a fresh perspective on African cinema Movies, Avant Garde Showcase, Digital Underground, Short Cuts, Cult Movie, Out-takes and Treasures from the NFTVA, which saw five new titles added to its repertoire including La Grande Illusion and Written on the Wind.

The NFT’s television strand maintained its popular profile with key seasons being devoted to dance, Chekhov, vocal legends and favourite television of the ’50s-’60s and

From Brooklyn street stud to supercool hitman: a jive- talking weekend of John Travolta movies at the NFT 30 by Sir Jeremy Isaacs who Up close and personal infamous director, John discussed the contribution Waters, the Channel made by archival footage to The LFF’s primary aim is to 4/Guardian British Gala of his work and the time involved bring the range of Waking Ned with cast and in selecting images from the contemporary world cinema crew and the Evening world’s film archives for major to audiences in London and Standard Gala of Hideous projects such as the recent TV UK-wide. Indeed, it is unique Kinky starring Kate Winslet. series, Cold War. in offering an almost unrivalled opportunity for audiences not During the festival a day of Inform... inspire... only to see films from every nostalgia awaited film include cinema-producing country in enthusiasts as a celebration of the world but also in 75 years of Warner Bros and Education lies at the heart of presenting film-makers and an in-depth look at film the NFT’s activities. A variety actors in a context where preservation took place at the of educational events people can actually talk to NFT. To mark its 75th accompanied NFT seasons them about their work. anniversary, Warner Bros such as the Fassbinder donated to the bfi the restored The fantasmagorical Chitty Chitty Bang Bang celebrates her conference with a keynote The 1998 festival got off to an print of Alfred Hitchcock’s 30th birthday on the South Bank address by leading film exciting start on 5 November Strangers on a Train (1951), historian Thomas Elsaesser, with the Opening Night Gala screened at the festival. Kris Kristofferson (A Soldier’s cinematographers who staged in conjunction with the of Little Voice, attended by the Daughter Never Cries), or to influenced the language of Goethe-Institut London. production team and a star From Iran, 17 year-old Samirah retrospectives, as with William cinema. Other guest speakers Other special events were cast including Jane Horrocks, Makhmalbaf’s The Apple was Friedkin, Saul Zaentz and were writers Richard Price, lectures and seminars Michael Caine, Brenda awarded the prestigious bfi Val Guest. Barry Gifford and Hanif exploring the work of Paul Blethyn and Ewan McGregor. Sutherland Award for best first Kureishi, one of the great Robeson, Yasujiro Ozu and More excitement ensued with feature screened at the Other on-stage events chroniclers of the changing Shohei Imamura, a student the American Express Gala of festival. Some 26 European included interviews with patterns of London life. John masterclass with William Rounders attended by Matt films were shown and Lars directors Ken Annakin and Pilger presented a preview of Friedkin and one-day events Damon and Famke Janssen, von Trier’s The Idiots was Roy Ward Baker (with a his latest documentary, devoted to aspects of the American Airlines Gala of awarded the International special surprise appearance theorist Slavoj Zizek put on a French cinema. Pecker attended by its Critics’ Prize by a FIPRESCI by Roger Moore), and series of lectures and script performers such as Joel Grey guru Robert McKee revealed Education events in the TV98 and double-Oscar winner the principles of writing a festival included a rapturously Luise Rainer. The appearance successful screenplay. received EastEnders story- of cinematographers Jack lines session aimed at ‘A’ Cardiff and Darius Khondji 007 film series producer Level students. A number of was linked to a season Michael G Wilson gave a student screenings and featuring 17 films by glimpse behind the scenes of events were also programmed James Bond and Bertrand for the LFF. Tavernier participated in a discussion on the work of Introductions and post- Julien Duvivier. Various guests screening discussions in the also introduced screenings regular Movie Monday slots and enthralled audiences in encompassed a wide variety question and answer of themes including epics, sessions: those at the Australian history, films with Fassbinder retrospective, for limited distribution, director example, enjoyed anecdotes Sir Carol Reed, critic Paul from several of the film- Dehn and depictions of maker’s collaborators. There Los Angeles. was even a guest appearance by the eponymous car to The subtitled screenings for celebrate the 30th anniversary hearing impaired visitors, of Chitty Chitty Bang Bang, supported by the Dorothy courtesy of MGM Home Burns Charity, continued with Entertainment. features such as The Ice Storm, The X-Files, The The annual Ernest Lindgren Wings of the Dove and City Memorial Lecture was given of Angels. 31

increased education activity; and additional awards at a special ceremony.

The restructured LFF was a commercial and cultural success, attracting 102,000 attendances and recording ‘ ‘ £469,000 at the box office. It also achieved its highest ever The festival sponsorship income: over £500,000 cash and in-kind welcomed support. BT and Sky Movies 216 film- were welcomed as new main Warren Beatty’s Bulworth closed the 42nd LFF Jean Anderson, Vanessa Redgrave, Dorothy Tutin, sponsors, in addition to the makers at Rachel Kempson and Dulcie Gray at the LFF screening of discussions, established supporters The Importance of Being Earnest jury, presiding at the LFF for Another LFF ‘first’ was a American Express, Evening seminars and the first time. World Cinema small awards ceremony at Standard and American educational programme enthusiastic about renewing educational was well represented with the NFT, which combined Airlines. In total, last year’s complemented the tour and their commitment in 1999. In events films from 48 countries. festival prizes with the festival benefited from 24 several directors and writers terms of audiences, 4,575 ‘‘ presentation of bfi Fellowships sponsors. travelled to introduce attendances were achieved by One exciting new development to Jeremy Thomas and screenings. participating cinemas. As a was the inclusion of an Bernardo Bertolucci. In terms of participation, the pilot, this tour provided valuable Experimenta strand, number of industry delegates Taking the festival on tour lessons and established an highlighting innovative, The festival came to a rose by 31% with 506 generated excellent feedback infrastructure to be developed cutting-edge film and video. dramatic close at the Odeon, accredited. With the new from the sponsors who were in coming years. Leicester Square with the press team of Dennis British cinema was British premiere of Warren Davidson Associates (DDA), Brenda Blethyn, Michael Caine and Jane Horrocks arrive for Little Voice represented in a dedicated Beatty’s tour-de-force political extensive local, national and programme sidebar which satire, Bulworth. international television and for the first time screened a newspaper coverage was British short before every An all-round success achieved. A more effective British feature. The Channel 4/ press show and conference Guardian Audience Award The festival welcomed 216 structure was established for this section was jointly international and UK film- providing greater opportunities presented to Bedrooms makers to introduce for film-makers to be Little Voice star Ewan McGregor (left) and Hallways and screenings and attend panel interviewed. Some 711 with his uncle Denis Lawson Understanding Jane. discussions, seminars and national and international educational events. Daily press delegates were workshops and screenings for accredited – an increase of schools were held at the NFT, nearly 20% on 1997. Odeon West End and Ritzy, Brixton. Getting out of London

As part of the broad aim to One of the most significant raise awareness and stimulate enhancements of the festival discussion, the LFF also this year was the creation of staged a series of prestigious the LFF on tour, which ran Guardian interviews with from 20 November – 3 Michael Caine, Julie Walters, December. In collaboration Roberto Benigni, Jonathan with regional film theatres and Demme, Willem Dafoe and Odeon Cinemas, this pilot John Waters. touring project took 25 festival titles to eight cities. At the 1998 festival a variety of changes were introduced: a The tour, fully sponsored by 15-day, rather than an 18-day American Express, BT and UK duration; restructured Arena, generated good media programme strands; additional and promotional support in all venues outside the West End; eight locations. A strong 32 Production

bfi Production backs and assists new British film-makers and their films. This continuing objective is in keeping with the spirit of its origins almost 50 years ago when its activities were described as bringing unknown talent and unknown film techniques ‘into the light’.

33

bfi Production fosters film- Film Fund were both Towards the end of this year National Lottery Fund and Recognition for bfi makers whose work is so withdrawn, while the New of change it was confirmed MIDA. Set in 1995, the film is Production new, fresh or innovative, that it Directors scheme remained as that bfi Production would a bitter-sweet comedy about makes them too risky a the department’s continuing transfer to the Film Council, how three families in London The year 1998/99 witnessed prospect for the commercial involvement with the direct the new strategic body react to the arrival of refugees significant achievements for industry. The film-makers financing of new film-making. overseeing public funds for from the Yugoslavian crisis. Love is the Devil, John have benefited from the the film industry. Maybury’s portrayal of the environment at bfi Production, The year was therefore one of I Could Read the Sky, directed controversial and world ‘ ‘ where they have been able to adaptation to change, while New feature films by Nichola Bruce, was famous British artist, Francis draw on support, advice and projects backed in previous adapted from the photo- Bacon. Backed by the bfi, the bfi Production guidance. Audiences have years came to fruition. The bfi Production’s role in feature graphic novel by Steve Pyke BBC and the ACE National also enjoyed these films of Projects Fund completed a film-making was based on and Tim O’Grady. It is co- Lottery Fund, the film was in partnership significant artistic quality range and diversity of partnership arrangements with financed by the bfi, Channel screened at the 1998 Cannes with the BBC which have pioneered production from shorts to both the BBC and Channel 4 4, the Irish Film Board, the Film Festival and officially and Channel 4 new ideas. documentaries to animation. in the mutual endeavour to ACE National Lottery Fund selected for the renowned Un has nurtured identify and nurture innovative and Gemini Films of France. Certain Regard section. Change and renewal A key change introduced by and distinctive feature films. As an old man awaits his At the 1998 Edinburgh innovative, the bfi’s internal review relates death in a London bedsit, he International Film Festival, distinctive The year 1998/99 was one of to film production in the Two feature films were recalls his past in Ireland, his Sir Derek Jacobi and Daniel feature films great change and renewal for regions. The bfi’s contribution completed during the year, arrival in England and talks Craig, both performers in the ‘‘bfi Production. The bfi’s to the Regional Arts Boards Beautiful People and I Could with the ghosts of his life. film, jointly received the Pathe internal review redefined the and Media Development Read the Sky. Performance Prize. It was also organisation’s core aims as Agencies for film-making Both films convey new judged Best British Film (the education and access. As a became the responsibility of Beautiful People, written and perspectives on what it means Michael Powell Award). This consequence there was a bfi Production. This resulted directed by Jasmin Dizdar, to be separated either by exile sealed a hat-trick of Michael corresponding decrease in in a much closer liaison was co-financed by the bfi, or by the lure of work away Powell awards for bfi resources for production. The between the department and Channel 4, British Screen, the from home, tradition and Production, as Shane Projects Fund and the Feature regional interests. Arts Council of England (ACE) culture. Meadows’s Small Time in

Jasmin Dizdar’s bitter-sweet Beautiful People 34 1996 received a special mention and Under the Skin won in 1997. The Best Actor accolade at the London Evening Standard Awards for Sir Derek Jacobi capped a very busy year for Love is the Devil. Upon its autumn 1998 opening, the film became the most successful bfi Production released at the UK box office and has been sold to all major territories around the world.

Another bfi production also jointly supported with the BBC, John Akomfrah’s Speak Like a Child enjoyed festival exposure in the UK and internationally in 1998. This haunting love story about three friends was selected for the 1998 Venice, Toronto and London Film Festivals.

New Directors

Simon Beaufoy’s Yellow The New Directors scheme is a partnership between bfi Kill the Day written and 10-minute scripts with a advises on policy and new University and John Moores Production and Channel 4. Its directed by Lynne Ramsay February 1999 deadline for schemes for Lottery funding. University, Liverpool. This was purpose is to identify submissions. The scheme is During the year, the bfi a series of video installations distinctive film-making talents Yellow written and directed now run in partnership with (Regional Development Unit and interactive media and enable them to undertake Simon Beaufoy and Bille FilmFour Lab, a section of the and bfi Production) assessed artworks for ISEA 98 short film productions. Eltringham newly established FilmFour 174 applications on behalf of (International Symposium on The seven shorts production arm of Channel 4. ACE including 138 film Electronic Arts). commissioned in 1997/98 More is Less written by production applications which were completed and launched Andy Lambert and Chris Collaborations and resulted in 22 awards and five Amber Films received a at the Edinburgh International Murray, directed by Andy partnerships for British capital grants. £270,000 award to fund a Film Festival in August 1998. Lambert film-makers participatory film-making Edinburgh also programmed a Particular successes for the project about the regeneration retrospective of the best of 10 Black Eyes written and bfi Production is currently cultural production sector of East Durham. £48,000 years of the bfi New Directors directed by Dan Zeff contracted to assess film included £86,000 to FACT went to the award-winning scheme. Screenings of the production and film-related (Foundation for Arts and Bristol-based animation team seven films took place in Spindrift written and capital projects which are Creative Technology) for the Bolex Brothers for The London, Newcastle and directed by Simone received by ACE for Lottery Akkomodation, a collaboration Little Dark Poet. An £18,000 Bristol. Horrocks support. In addition the bfi with Manchester Metropolitan award was made to Sheffield- based Lifesize Pictures for Anthrakitis, written and Anton & Minty written by Black Out, an exploration directed by Sara Sugarman, Alnoor Dewshi and through dance of sexual was nominated for a BAFTA Sean Lock, directed by violence. award for Best Short Film Alnoor Dewshi and won the Audience Prize Another event organised by at the 1998 Brief Encounters New directions: the bfi, as part of its contract Short Film Festival held in No Limits with ACE’s Lottery unit, was a Bristol. one-day seminar run in New Directors 1999/2000 collaboration with VET and Previous New Directors films was launched under the the Lighthouse in Brighton. broadcast on Channel 4 heading of No Limits and The event was aimed at during the year included: advertised for 3-minute and organisations developing Sara Sugarman’s Anthrakitis 35

work performed by casts of Kay Mellor’s Fanny & Elvis. the highest calibre. Others benefited by attracting

development or production Activities in 1998/99 included funding. a season of presentations at London’s October Gallery Showcase production (autumn 1998), a performed for the UK’s biggest reading at the Edinburgh screen International Film Festival (August), and a special panel During the year, bfi Production ‘ Providing‘ discussion entitled Openings supervised the production of at BAFTA in which Simon a large-format ‘signature’ film practical Beaufoy (The Full Monty), to be screened before the information Howard Schuman (Rock main feature in the bfi London on funding Follies) and Troy Kennedy- IMAX® Cinema. The film is sources and Martin (The Italian Job) all an entertaining and participated. Openings was spectacular introduction to eligibility to the first of a programme of the remarkable capabilities of students and events organised by the Script the venue. It was written and those new to Factory and held at BAFTA. directed by Terry Jones and ‘‘ stars John Cleese. production multimedia training following the moving image in a public experienced practitioners. A number of screenplays a significant capital investment art context. aided by their Script Factory The bfi’s most successful in new media technologies. Although funding and presentations went into film in the UK starred Daniel The day covered technical The bfi’s 1998/99 Low Budget resources for the Project Fund production, most notably Craig and Sir Derek Jacobi aspects, funding and Funding Guide was were withdrawn during this accreditation issues. completed in mid-July. This year, a number of film projects invaluable information and were completed successfully. In conjunction with the education resource provides These included: London Film and Video an accessible, user-friendly Night Frontier by Development Agency, listing of grants – available writer/director intensive training was offered both in the UK and Europe – Laurence Turnbull to nine London production for film, video and moving and training organisations. image production. It also Pig Iron by director The focus of the training was provides an overview on Billy O’Brien to help them apply for Lottery topics such as support for funding to recapitalise well- small organisations and Wildlife by director worn film, video and forming a company or charity, Kate de Pury multimedia kit. In association as well as practical with the Public Art Forum, the information on funding The feature-length The Cannes triumph bfi organised a one-day sources, relevant to students, documentary The Man who Beautiful People (above) and John Akomfrah’s Speak Like convention entitled Future recent graduates, those new Drove with Mandela, directed a Child (below) Frame to promote the use of to production and more by Greta Schiller, was completed in 1998 and was invited to the Berlin International Film Festival in February 1999, where it was awarded the Teddy Prize for documentary production.

The Script Factory

The Script Factory presents readings of so far unproduced film scripts to an audience of the general public and film industry professionals. The aim is to assist the art and craft of screenwriting by allowing writers to hear their 36 Financial Statements

bfi Status The British Film Institute is a body incorporated by Royal Charter and also a registered charity, number 287780. A copy of the Royal Charter is available on request.

37 British Film Institute Financial controls In preparing these financial shows a surplus for the year on Equal Opportunities Report of the Auditors Report of the Governors The Governors are responsible for statements, the bfi is required to: general funds of £27k. The overall The bfi has an agreement with the to the Governors of the British Film for the year ended 31 March 1999 keeping accounting records which surplus including designated and recognised trade unions on Equal Institute disclose with reasonable accuracy the • Observe the accounts directions restricted funds was £8.733m. The Opportunities. This is reflected in the We have audited the financial The Governors are the trustees of the financial position of the bfi and which issued by the Secretary of State Consolidated Statement of Financial policies and practices of recruitment, statements on pages 39-48 which charity. enable them to ascertain the financial for Culture Media & Sport Activities (SOFA) is set out on page 39 promotion and training. have been prepared under the position of the charity and which including the adoption of suitable with further detail provided in note 19. historical cost accounting convention Governors of the bfi during the enable them to ensure that the accounting policies within the Applications for employment by as modified for the revaluation of fixed year were: financial statements comply with framework outlined in the bfi’s Divisional activities during the year are disabled persons are always fully assets and on the basis of the applicable regulations. They are also Royal Charter; set out in the Annual Review, copies considered, bearing in mind the accounting policies set out on pages Alan Parker (Chairman) responsible for safe-guarding the of which are available on request. aptitudes of the applicant concerned. 41-42. assets of the bfi and hence for taking • Make judgements and estimates In the event of members of staff Joan Bakewell (Deputy Chairman) reasonable steps for the prevention that are reasonable and prudent; Reserves policy becoming disabled every effort is Respective responsibilities of and detection of fraud and other The bfi plans financially on a rolling made to ensure that their employment Governors and auditors Ray Deahl irregularities. • State whether applicable three-year basis based on forecasts with the bfi continues and that As described on this page the bfi is accounting standards and of activity and anticipated levels of appropriate training is arranged. It is responsible for the preparation of Charles Denton The Audit Committee examines the statements of recommended income from the Department for bfi policy that the training, career the financial statements. It is our effectiveness of the systems of practice have been followed, Culture Media & Sport (DCMS) and development and promotion of responsibility to form an independent Sir Anthony Durant MP internal financial control on behalf of subject to any material other funders. The bfi funds both disabled persons should, as far as opinion, based on our audit, on those (retired 30.9.98) the Governors and are satisfied that departures disclosed and long-term developments and its on- possible, be identical with that of statements and to report our opinion the systems in place comply in all explained in the financial going programmes from grants and other employees. to you. We have been appointed as Lord Dafydd Elis-Thomas material aspects with Charity statements; and donations received and income auditors by the Governors under the Commission and DCMS guidance, generated from its activities. Employee involvement bfi’s Royal Charter and report in Tony Elliott and that: • Prepare the financial statements The flow of information to staff is accordance with the requirements of on the going concern basis All expenditure plans are phased to maintained by office notices and that Charter and in accordance with Terry Gilliam • The bfi is operating effectively unless it is inappropriate to ensure adequate funding is available regular departmental meetings, and at regulations made under Section 44 of and efficiently presume that the bfi will continue as needed. It is the Board’s intention general meetings of all staff held from the Charities Act 1993. Alan Howden in operation. to build up a liquidity reserve time to time where matters of current • Its assets are safeguarded equivalent to one month’s recurrent interest and concern to the bfi are Basis of opinion Ronnie Kells against unauthorised use or The bfi is also responsible for expenditure on general and discussed. A monthly newsletter is We conducted our audit in disposition safeguarding its assets and taking designated activities, circa £2.4m. circulated to all staff. Regular accordance with Auditing Standards Gus Macdonald reasonable steps for the prevention meetings are held with issued by the Auditing Practices (resigned 30.9.98) • Proper records are maintained and detection of fraud and other Projects funded from Restricted representatives of the recognised Board. An audit includes examination, and financial information used irregularities. Income, mainly grants and lottery trade unions. on a test basis, of evidence relevant Steve Morrison within the bfi or for publication is awards, only proceed to to the amounts and disclosures in the (retired 30.9.98) reliable; and The Governors are regarded as implementation after all necessary Charitable commitments financial statements. It also includes trustees for investment purposes. funding has been secured. The There were no material charitable an assessment of the significant Simon Olswang • The bfi complies with relevant balances of unspent grants and commitments at the year-end. estimates and judgements made by laws and regulations Review of activities similar items held within the the bfi in the preparation of the Barry Norman The objects of the bfi are to Restricted Fund are subject to Transactions with Governors financial statements, and of whether The systems of financial control are encourage the development of the art specific conditions imposed by the No Governors received remuneration the accounting policies are Rodney Payne designed to provide reasonable, but of film in the United Kingdom, to donors and not available to fund our for their service as Governors. In appropriate to the bfi’s not absolute, assurance against promote its use as a record of other activities. addition to the reimbursement of circumstances, consistently applied Sarah Radclyffe material mis-statement or loss and contemporary life and manners, to travelling expenses during the year and adequately disclosed. include regular consideration by the foster study and appreciation of it Tangible fixed assets (see note 8) the following Governor Eric Senat Governors of actual results, including from these points of view, to foster The movement in tangible fixed received payments for professional We planned and performed our audit non-financial performance targets, study and appreciation of film for assets is disclosed in note 11. Land services: Brian Winston £850. All so as to obtain all the information and Allan Shiach against budgets and forecasts. television and television programmes and Buildings were revalued at contracts with Governors for services explanations which we considered (retired 30.9.98) generally and to encourage the best 31st March 1999 and a surplus on are negotiated on an arms-length necessary in order to provide us with Deloitte & Touche provide the bfi with use of television in the United revaluation of £9.164m identified. basis. sufficient evidence to give reasonable Brian Winston an internal audit function. The Audit Kingdom. The bfi is governed subject assurance that the financial Committee considers all internal audit to the terms and conditions set out in Year 2000 Professional advisors statements are free from material Jean Young reports and recommendations. its Royal Charter. As is well known, many computer and The bfi’s principal advisors are: misstatement, whether caused by digital storage systems express dates fraud or other irregularity or error. In The Board of Governors has adopted The bfi cannot operate as effectively using only the last two digits of the Hutchinson Morrison and Childs – forming our opinion we also evaluated Governors of the bfi are appointed by the Code of Best Practice for board as it does without the support of year and will thus require modification Property the overall adequacy of the the Secretary of State for Culture members of public bodies, and sponsors and donors. The Governors or replacement to accommodate the Lloyds Bank Plc – Bankers presentation of information in the Media & Sport. Governors also serve maintains a register of interests of wish to express their thanks to the Year 2000 and beyond in order to Nicholson Graham and Jones – financial statements. on the following committees: board members. This is available for bfi’s benefactors, and in particular to avoid malfunctions and resulting Solicitors inspection, on request, at the bfi’s J Paul Getty KBE, for his generosity widespread commercial disruption. A Opinion Audit Sub-Committee main administrative centre at over many years towards every company-wide programme, designed On behalf of the Board of Governors In our opinion the financial statements Budget Sub-Committee 21 Stephen Street, London W1P 2LN. aspect of our work, in particular the to address the impact of the Year give a true and fair view of the state Disability Committee preservation of the heritage of our 2000 on our business, has been Alan Parker of the bfi’s affairs as at 31st March Industry Festival The bfi’s Royal Charter requires the bfi national cinema. commissioned and is under way. All 1999 and of its incoming resources National Film and Video Forum to keep proper accounts and other major IT systems will have been Ray Deahl and application of resources for the Production Board records and to prepare for each Subsequent to the year-end, the bfi checked and made compliant for Year year, and have been properly Property financial year statements of account announced that, from 1st September 2000 problems by the end of July 23rd June 1999 prepared in accordance with the Remuneration Committee in such form as the Secretary of State 1999, the Museum of the Moving 1999. The operation of our business requirements of the Royal Charter of for Culture Media & Sport with the Image would become a touring depends not only on our own Incorporation and the Charities Act consent of the Treasury may direct. museum, while redevelopment of the computer systems, but also to some 1993. The Governors are required to ensure South Bank Arts Complex takes degree on those of our suppliers and that a registered auditor audits the place. customers. This could expose us to Binder Hamlyn financial statements each year and further risk in the event that there is a Chartered Accountants and report on whether they show a true Financial performance failure by other parties to remedy their Registered Auditors and fair view of the bfi’s state of affairs Total expenditure during the year own Year 2000 issues. 20 Old Bailey at the year-end and of its income and ‘including depreciation’ amounted to London expenditure and cash flows for the £30.306m. Activity income amounted The Governors have assessed the EC4M 7BH financial year. The Governors are also to £9.374m which, when added to impact of the Year 2000 problem and required as soon as practical after the the grant of £15.100m from the are taking steps to ensure that all 23rd June 1999 end of the financial year to issue an Department for Culture Media & relevant systems and equipment will Annual Report containing the financial Sport, interest received and other be Year 2000 compliant. Expenses statements and a report on the affairs income, gives total income of associated with this are not expected of the bfi. £39.039m. The Consolidated to be material in relation to these Statement of Financial Activities financial statements and will be (SOFA) is set out on page 39 and expensed as incurred. 38 Consolidated Statement of Financial Activities for the year ended 31st March 1999

Income and Expenditure General Designated Restricted Total 1998 Notes £000 £000 £000 £000 £000 Incoming Resources Grant-in-aid 3 15,100 - - 15,100 16,000 Other grants - - 984 984 1,502 Lottery award funding 4 - - 11,923 11,923 3,260 Investment income 5 - 338 - 338 394 Income from activities 9,227 147 - 9,374 10,965 Fundraising activities 1,320 - - 1,320 833 6 25,647 485 12,907 39,039 32,954

Resources Expended Direct charitable expenditure 23,863 1,692 1,128 26,683 30,594 Lottery applications - 24 1,226 1,250 570 Fundraising and publicity 655 43 - 698 410 Management and administration 1,102 573 - 1,675 3,049 6, 10 25,620 2,332 2,354 30,306 34,623

Net incoming/(outgoing) resources 27 (1,847) 10,553 8,733 (1,669)

Notional Costs: Cost of capital 7 74 - - 74 1,766 Net incoming/(outgoing) resources after notional costs (47) (1,847) 10,553 8,659 (3,435)

Realised gains/(losses) on investments 12 - (71) - (71) 548 (47) (1,918) 10,553 8,588 (2,887)

Surplus on revaluation 11 - 9,164 - 9,164 - Unrealised gains on investments 12 ----301 Reversal of notional costs 74 - - 74 1,766 Net incoming/(outgoing) resources 27 7,246 10,553 17,826 (820)

Fund balances brought forward 1,200 22,653 4,332 28,185 29,005 Fund balances carried forward 1,227 29,899 14,885 46,011 28,185

There were no recognised gains and losses other than those shown in the statement above. All the above results derive from continuing operations. The notes on pages 41-48 form an integral part of these financial statements.

Summary Income and Expenditure Account 1999 1998 £000 £000

Income of continuing operations 39,039 32,954 Less lottery monies for capital projects 10,697 2,991 28,342 29,963 Operating expenditure 30,306 34,623 Operating deficit on revenue income and expenditure (1,964) (4,660)

39 Consolidated Balance Sheet at 31st March 1999

1999 1998 Notes £000 £000 £000 £000 Fixed Assets Collections: Films etc --

Tangible Fixed Assets 11 45,351 23,418

Investments 12 - 3,719 45,351 27,137

Current Assets Stocks 14 452 557 Debtors 15 6,274 3,929 Cash at bank and in hand 16 640 3,581 7,366 8,067 Less creditors: amounts falling due within one year 17 5,072 5,455 Net current assets 2,294 2,612 Total assets less current liabilities 47,645 29,749 Less provision for liabilities and charges 18 1,634 1,564 19 46,011 28,185

Financed by: Unrestricted funds General 1,227 1,200 Designated 29,899 22,653 Restricted funds 14,885 4,332 19 46,011 28,185

The Governors and Director of the bfi approved these financial statements on 23rd June 1999.

Alan Parker Ray Deahl John Woodward

The notes on pages 41-48 form an integral part of these financial statements

Consolidated cash flow statement for the year ended 31st March 1999 1999 1998 £000 £000

Net cash inflow from operating activities 7,355 3,288 Capital expenditure and financial investment (10,296) (2,498)

(Decrease)/increase in cash in the year (2,941) 790

40 Notes to the Cash Flow Statement 1999 1998 £000 £000 1 Reconciliation of changes in resources to net inflow from operating activities Net incoming resources before lottery funding (1,964) (4,660) Assets funded by lottery 10,697 2,991 Net incoming/(outgoing) resources 8,733 (1,669)

Realised investment gains/(losses) (71) 548 Depreciation 1,246 1,489

Decrease/(increase) in stocks 105 (35) (Increase)/decrease in debtors (2,345) 350

(Decrease)/increase in creditors (383) 1,041 Increase in provision for liabilities and charges 70 1,564 Net cash inflow from operating activities 7,355 3,288

2 Analysis of cash flows Capital expenditure and financial investments Capital expenditure in year 14,015 4,670 Investment disposals at cost (3,719) (2,172) 10,296 2,498

3 Reconciliation of net cash flow to movement in net funds Increase in cash in the period Cash (outflow) inflow from increase in liquid resources (2,941) 790 Movement in net funds in the period (2,941) 790 Net funds at 1st April 1998 3,581 2,791 Net funds at 31st March 1999 640 3,581

4 Analysis of net funds 1.4.98 Cash flow 31.3.99 £000 £000 £000

Cash at bank and in hand 3,581 (2,941) 640

The notes on pages 41-48 form an integral part of these financial statements.

Notes to the Financial Statements for the year ended 31st March 1999

1 Accounting Policies

The financial statements of The consolidated financial South Bank bfi is included in charitable Costs in making applications the bfi are prepared under the statements have been Sales of ticket and retail expenditure in the year are charged to the SOFA in historical cost convention as prepared using the items at the National Film incurred. The Collections also the year they are incurred modified by the revaluation of acquisitions method. Theatre and Museum of the comprise donated material and matched with related listed investments and in Moving Image are credited to and these items are not income from Lottery awards. accordance with applicable A separate SOFA is not income on an accruals basis. susceptible to formal Expenditure on tangible fixed accounting standards and the included for the bfi itself; valuation. A nominal value of assets is capitalised within Statement of Recommended similarly a separate balance Other income £1 has been placed on these the Restricted and Practice ‘Accounting for sheet is not presented for the Income from sales of collections. Designated Funds. Charities’ (SORP). bfi as this would not be publications, provision of materially different from the services, member and Tangible fixed assets The following principal consolidated balance sheet. magazine subscriptions, and The bfi’s accounting accounting policies have miscellaneous items are dealt presentation of expenditure been applied: Income with on the accruals basis on tangible fixed assets is in Income is accounted for on and represent amounts accordance with the HM Basis of consolidation the following basis: invoiced to clients excluding Treasury publication Trading The consolidated accounts VAT where appropriate. Accounts: A guide for incorporate the financial Lottery Funding and other Government Departments statements of the bfi and all grants Collections: Films etc and Non-Departmental of its subsidiary undertakings Lottery income and other All expenditure on acquiring Bodies. Expenditure on and include the results of the grants are recognised when and improving the national tangible fixed assets is bfi itself together with those the conditions for their receipt collection of films, television capitalised and depreciation of its subsidiary undertakings have been met. material, photographic stills, charged to the SOFA. to the date of these financial posters, books and other statements. related materials held by the

41 Depreciation permanent diminution of Management and account in the year in which it Operating lease Depreciation is provided to value if appropriate. administration is earned. transactions write-off the cost, less These costs are incurred in Payments made under estimated residual values, of Listed investments are the management of the bfi’s Pension costs operating leases are charged all fixed assets except freehold included at market value at assets, corporate Contributions to a defined to the SOFA as they are land, over their expected the balance sheet date. administration and benefit pension scheme are incurred. useful lives. It is calculated at compliance with consti- charged to the SOFA so as the following rates: Surplus or deficits on sales of tutional and statutory to spread the cost of Fund accounting investments are credited or requirements. pensions over employees’ General funds are available Freehold buildings charged in the SOFA. working lives within the bfi, in for use at the discretion of 2% per annum Staff costs accordance with the the Governors in the Stocks Staff costs consist of wages Statement of Standard furtherance of the general Long leasehold property Stocks are valued at the and salaries, social security Accounting Practice 24. objectives of the bfi. 2% per annum lower of cost and net and pension costs (note 8). realisable value and comprise Notional costs Designated funds comprise Furniture, fittings and goods held for resale. Film production costs and In accordance with Treasury funds which have been set equipment income Guidance, notional costs of aside at the discretion of the 10-33% per annum Direct charitable Committed expenditure on estimated capital are charged Governors for fixed asset expenditure film productions is charged in in the SOFA in arriving at a purchases and other Motor vehicles Expenditure includes direct the income and expenditure net income (outgoing) expenditure. The purpose 20% per annum costs of the activities and account in the year resources figure. Notional and use of the designated depreciation on related production commenced. costs are not charged on funds are set out in the notes Investments assets. Where costs relate to donated or lottery funded to the financial statements. Investments in subsidiary more than one activity they Income from completed film assets. undertakings are included at are allocated on an production is credited to the Restricted funds are funds cost, less provision for a appropriate basis. income and expenditure subject to specific restriction imposed by donors.

2 Presentation of Financial Statements

The bfi’s Royal Charter A copy of the Direction given requires the bfi to keep by the Secretary of State for proper accounts and other Culture Media & Sport may records and prepare for each be obtained from the Director financial year financial of the bfi, 21 Stephen Street, statements in such form as London W1P 2LN. the Secretary of State for Culture Media & Sport, with the consent of the Treasury, may direct.

3 Related Party Transactions

The bfi is an NDPB of the Department for Culture Media & Sport (DCMS). The DCMS is regarded as a related party. During the year, the bfi has had material transactions with the DCMS, and with other entities for which the DCMS is regarded as the parent Department, viz:

1999 1998 £000 £000 a) DCMS – Grant-in-aid General funds 14,837 15,488 Tangible fixed assets 263 512 15,100 16,000

Grant-in-aid is available for running costs, capital expenditure and additions to the national collection.

b) Lottery funding bodies – see note 4.

None of the bfi Governors, key management staff or other related parties has undertaken any material transactions with the bfi during the year.

42 4 Lottery Funding Less Gross Lottery and Costs Other Monies BFI Funding 1998-99 Receivable General Designated £000 £000 £000 £000 Arts Council of England IMAX 12,290 9,263 - 3,027 NCC (Feasibility) 24 - - 24

Heritage Lottery Fund Film preservation 2,660 2,660 - - Total 14,974 11,923 - 3,051 Fixed assets costs 13,724 10,697 - 3,027 1,250 1,226 - 24

Award Received In Year In Year Film Production Lottery Awards: £000 £000

Arts Council of England Beautiful People 554 554

5 Investment Income 1999 1998 £000 £000

Interest receivable 284 209 British government stocks 938 UK equities 45 147 338 394

6 Income and Resources Expended Accom. Staff Other & Support Total Net Income Costs Costs Costs Expenditure Support £000 £000 £000 £000 £000 £000 Charitable Activities Exhibition 2,654 2,292 5,003 974 8,269 5,615 Collections 5,288 4,283 4,865 1,821 10,969 5,681 Education 2,094 1,739 2,329 739 4,807 2,713 Production 1,291 308 2,082 131 2,521 1,230 Support services: Accommodation costs - - 1,959 (1,959) - - IT and central administration 117 1,614 525 (2,022) 117 - Sub-total 11,444 10,236 16,763 (316) 26,683 15,239

Lottery applications 11,923 - 1,250 - 1,250 (10,673)

Fundraising and publicity - 203 409 86 698 698 Management and administration 572 542 903 230 1,675 1,103

Grant-in-aid received 15,100 - - - - (15,100) Total 39,039 10,981 19,325 - 30,306 (8,733)

Income is shown above in accordance with internal allocations to charitable and other activities.

7 Notional Cost of Capital

Notional cost of capital is calculated as 6% of the average General Funds employed. No notional interest is calculated on donated or lottery-funded assets.

43 8 Staff 1999 1998 Restated £000 £000 Staff costs consist of: Wages and salaries 9,821 10,133 Social security costs 783 752 Pension costs 377 365 10,981 11,250

The average number of full-time equivalent employees of the bfi during the year: 1999 1998 Funded by DCMS grant and operating income: Number Number

68 66 Exhibition 234 244 Collections 62 65 Education 57 Production 60 62 Central Services 44 Fundraising and publicity 12 12 Management and administration 445 460 48 27 Employees funded by other grants or sponsorship monies 493 487

Director £000 J C Woodward 110 (Including a non-consolidated performance related bonus of £9,996 (1998 £Nil); personal pension scheme contribution of £12,467 (1998 £Nil)

1999 1998 Other Senior Staff including employers pension contributions: Number Number

£60,000 - £69,999 -- £50,000 - £59,999 42 £40,000 - £49,999 14 10

The Governors neither received nor waived any emoluments during the year (1998 £Nil). Expenses reimbursed amounted to £2,070 (1998 £2,242).

As disclosed in the foreword payments totalling £850 were made in the year for professional services. There were no other material connected party transactions involving Governors in their personal capacity.

9 Pensions

The bfi is an admitted body to the London Pensions Fund Authority, which is a defined benefit scheme for its salaried employees. It is a funded scheme and the assets are administered by trustees and are independent of the bfi’s finances.

The main actuarial assumptions were as follows:

Rate of increase in salaries 5.4% Return on scheme investments 7.2%

The market value of scheme assets at 31st March 1999 was £1.17m representing 108% of estimated liabilities. The separate scheme for pensions in payment was £1.48m, representing 100% of the actuarial liability.

After the fund was revalued at 31st March 1998 and found to be in surplus a revised employer’s contribution rate of 3.4% was agreed for the three years commencing 1st April 1999.

The charge for pension costs for the year is included in staff costs. The actual costs paid in the year amounted to £290,664 (including £128,780 in respect of unfunded pensions to former staff (note 18).

44 10 Resources Before Transfers is Stated After Charging: 1999 1998 £000 £000 Auditors’ remuneration Audit fee 31 29 Accountancy and other services 79 Depreciation 1,246 1,455 Loss on disposals -34

Charges for operating leases: Equipment 86 156 Property rents 158 228

Long Freehold Furniture 11 Tangible Fixed Assets Leasehold Land and Fittings & Motor Property Buildings Equipment Vehicles Total £000 £000 £000 £000 £000 Cost At 1st April 1998 12,316 13,205 8,991 84 34,596

Additions: Grant-in-aid - - 263 - 263 Major projects fund --28-28 Lottery 11,459 2,265 - - 13,724 Surplus (loss) on revaluation (888) 5,330 - - 4,442 At 31st March 1999 22,887 20,800 9,282 84 53,053

Depreciation At 1st April 1998 1,543 2,749 6,802 84 11,178

Charge for the year: General - - 376 - 376 Designated 154 276 440 - 870 Elimination on revaluation (1,697) (3,025) - - (4,722) At 31st March 1999 - - 7,618 84 7,702

Net Book Value at 31st March 1999 General - - 880 - 880 Designated 11,027 18,535 784 - 30,346 Restricted 11,860 2,265 - - 14,125 22,887 20,800 1,664 - 45,351

At 31st March 1998 General - - 994 - 994 Designated 7,346 10,456 1,195 - 18,997 Restricted 3,427 - - - 3,427 10,773 10,456 2,189 - 23,418

Long leasehold property represents buildings held on lease with more than 50 years unexpired.

Stephen Street, Berkhamsted properties and the South Bank leasehold property were revalued on an Existing Use Value basis in accordance with the RICS Appraisal and Valuation Manual. The Gaydon film vaults were valued on a depreciated replacement cost basis in view of the specialised design and construction. The IMAX® Theatre was under construction at 31st March 1999 and is valued at cost.

The revaluation as at 31st March 1999 was conducted by Messrs Jones Lang Wooton:

£000 Cost – increase on revaluation 4,442 Depreciation eliminated on revaluation 4,722 Surplus on revaluation 9,164

Furniture, fittings and motor vehicles fixed assets are included at net historic cost. These assets are not held for resale and market value basis is therefore considered inappropriate. Depreciation is calculated to write-off the cost of these assets in full over their useful lives.

All tangible fixed assets are employed in charitable activities.

45 12 Fixed Asset Investments 1999 1998 £000 £000

Market value at 1st April 1998 3,719 5,590 Additions in year - 5,764 Disposals in year (3,648) (8,484) Profit (loss) on disposals (71) 548 Unrealised gain in year on revaluation - 301 Market value at 31st March 1999 - 3,719

Historic Cost at 31st March 1999 Quoted investments - 3,418 Unquoted investments --

Unrealised investment gains at 31st March 1999 - 301

Unquoted Investments As part of a funding arrangement, 100 shares are held in City Screen Oxford Ltd and in City Screen Exeter Ltd. These represent 10% of the issued share capital of each company.

13 Subsidiaries The bfi has the following interests in subsidiary undertakings 100% owned bfi Projects Ltd* (Dormant) Connoisseur Films Ltd (Dormant) Connoisseur Video Ltd (Video Publishing) Glenbuck Films Ltd (Dormant) Museum of the Moving Image Ltd (Artscard Administration)

*bfi Projects Ltd renamed bfi (Big Screen) Ltd after 31st March 1999

The above undertakings are registered in England and Wales. As stated in note 1 the income and expenditure assets and liabilities of subsidiaries have been consolidated in the financial statements.

14 Stocks 1999 1998 £000 £000

South Bank gift and bookshops 281 320 Book and video publishing 171 237 452 557

15 Debtors 1999 1998 £000 £000

Trade debtors 1,960 1,716 Other debtors 785 363 Prepayments and accrued income 364 368 Lottery awards 3,165 1,482 6,274 3,929 All amounts shown under debtors fall due for payment within one year.

1999 1998 16 Cash at Bank and In Hand £000 £000 Unrestricted funds 156 293 General 376 2,712 Designated 108 576 Restricted 640 3,581

46 17 Creditors Falling due Within One Year 1999 1998 £000 £000

Trade creditors 1,370 1,542 Other taxes and social security costs 260 237 Other creditors 414 604 Accruals 1,884 1,920 Lottery awards 1,144 1,152 5,072 5,455

The bfi aims to pay all suppliers on agreed credit terms subject to satisfactory supply of goods or services. Normal credit terms are 30 days after receipt of invoice at the central Finance Department, 21 Stephen Street London. An analysis of payments during 1998-99 shows that average credit taken during the year was 42 days (1998: 47 days).

18 Provision for Liabilities and Charges

The bfi also has an unfunded liability to pay pensions to 46 former employees. The total actuarial valuation of this liability is estimated at £1,763,406. The annual cost of £130,000 falling due in 1999-2000 is included within other creditors, and the balance of £1,633,406 is included in provisions.

19 Statement of Funds Balance Revaluation Balance 1.4.98 Transfer Income Expenditure Increase 31.3.99 £000 £000 £000 £000 £000 £000

General fund 1,200 25,647 25,620 1,227

Designated Funds: Capital reserve 17,314 3,055 - 1,079 9,164 28,454

Within Department: Exhibition 69 8 21 76 - 22 Collections 13 - - 13 - - Education 14 - - 14 - - Production 164 - - 57 - 107 Central Services 33 240 49 273 - 49

Major projects 5,046 (3,303) 344 820 - 1,267 Sub-total 22,653 - 414 2,332 9,164 29,899

Restricted Funds: Fixed assets (lottery) 3,427 10,697 - - - 14,124

Grant Funding: Collections 830 - 816 993 - 653 Education 93-82128-47 Production (18) - 86 7 - 61 Lottery (note 4) - (10,697) 11,923 1,226 - - Sub-total 4,332 - 12,907 2,354 - 14,885 Total 28,185 - 38,968 30,306 9,164 46,011

Analysis of Fund balances at 31st March 1999: General Designated Restricted Total £000 £000 £000 £000

Tangible Fixed Assets 880 30,347 14,124 45,351 Investments ----

Current Assets: Stock 452 - - 452 Debtors 3,309 1,055 1,910 6,274 Cash and bank and in hand 156 376 108 640

Current liabilities (3,570) (245) (1,257) (5,072) Provision for liabilities and charges - (1,634) - (1,634) Total 1,227 29,899 14,885 46,011

Note: The designated and restricted funds are currently fully committed. The Major Projects Fund provides matching funding for the IMAX® project and funding for other projects already approved. Restricted funds are committed as directed by the donors. General funds are available to fund revenue initiatives identified during the year and to provide a reserve against unforeseen costs arising. 47 20 Lease Commitments

Annual commitments in respect of operating leases payable in the year ending 31st March 1999 are as follows:

Land & Buildings: Other: 1999 1998 1999 1998 £000 £000 £000 £000 Leases which expire: Within 2 to 5 years 37 36 86 128 Over 5 years 72 192 - - 109 228 86 128 21 Taxation Status

The bfi is a registered charity and is not subject to corporation tax.

22 Summary of Grants, Donations and Sponsorship Received Excluding the recurrent annual grant from the DCMS

During the year the bfi again received significant support from J Paul Getty KBE and the Governors have expressed their appreciation to a remarkable philanthropist for his generosity over many years towards every aspect of our work, in particular the preservation of the heritage of our national cinema.

Lottery awards are detailed in note 4.

Grants, donations and sponsorships during the year totalled £2,304k (excluding lottery awards). The bfi wishes to acknowledge its gratitude for this tremendous level of support from the following organisations, who have allowed the bfi to better carry out its mission:

ABSA Carlton Screen Advertising Evening Standard Lambeth EMP South London TEC American Express Channel 4 Film Foundation Inc Marks & Spencer Stella Artois Arts Council of England Channel 4 Animation Gordon’s Gin Midnite Express The Guardian BSkyB Channel 5 Granada Films Milestone Film and Video UK Arena BBC Charles Russell Solicitors IDATE Millivres University of Cambridge BBC Films Eric Anker-Peterson Charity ITC New Covent Garden Soup Co. Universitaet Skase BBC Radio Chewits ITV Office of Supervision Westminster City Council British Animation Training De Moulpied Trust Japan Festival Fund Parliamentary Broadcasting British Telecom Dorothy Burns Judge Institute of Scottish Screen Canadian High Commission Dr. Martens (Airwair) Management Studies Skillset Carlton Eidos Interactive Lambeth Borough Council Sony PlayStation

Included above is sponsorship of £14,000 received from ABSA under the ABSA Pairing Scheme. This matched sponsorship of £10,000 from Eidos Interactive and £4,000 from Carlton Film Distribution.

Five Year Summary (Restated) 1999 1998 1997 1996 1995 £000 £000 £000 £000 £000 Incoming Resources Grant-in-aid 15,100 16,000 16,473 16,973 17,073 Other grants 984 1,502 1,299 818 3,489 Lottery funding 11,923 3,260 475 356 - Investment income 338 394 434 437 330 Income from activities 9,374 10,965 11,681 12,520 9,710 Fundraising activities 1,320 833 939 1,200 - Total incoming resources 39,039 32,954 31,301 32,304 30,602

Resources Expended Direct charitable expenditure 26,683 30,594 29,964 30,424 27,639 Lottery applications 1,250 570 246 321 - Fundraising and publicity 698 410 466 37 25 Management and administration 1,675 3,049 1,341 1,400 1,471 Total resources expended 30,306 34,623 32,017 32,182 29,135

Net incoming/(outgoing) resources 8,733 (1,669) (716) 122 1,467

Staff Numbers: Funded by DCMS 445 460 471 485 490 Other external grants 48 27 23 19 22

48