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THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005

WWW.BFI.ORG.UK The bfi annual report 2004-2005  2 The at a glance 4 Director’s foreword

9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement

43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report

55 – 74 Appendices

 The bfi annual report 2004-2005 The bfi annual report 2004-2005  The British Film Institute at a glance

What we do How we did:

The British Film 1.4 million Up 46% People saw a film distributed Visits to the and Gay by the bfi on the big screen Film Festival website increased by 46% Institute champions while online ticketing grew four-fold moving image culture Up 8% 40,500 Admissions to the bfi NFT increased more People used our library and research than eight per cent on the previous year viewing, catalogue and stills service in all its richness and were the highest for 13 years Over 3,000 278,150 and diversity, across films were screened across the UK – Sight & Sound sales topped 278,150 from rare silent to cult movies and archive screenings the UK, for the benefit 12 million 332,000 Well over 12 million viewers watched Books and educational resources of as wide an audience a bfi film on the small screen were sold by bfi Publishing 50 Countries 12,000 as possible, to create The 48th London Film Festival screened The bfi Archive, the largest and one more than 180 feature films and 100 shorts of the busiest in the world, dealt with from over 50 countries in 364 screenings – 12,000 print loans and encourage debate. with over half completely sold out 266,000 copies 4,000 28 bfi titles were released on Screenonline user registrations more than DVD and 266,000 copies sold doubled to almost 4,000 schools and libraries across the UK

 The bfiannual report 2004-2005 The bfi annual report 2004-2005  Director’s foreword

The number of films made available by thebfi last year is astonishing – some 3,000 titles booked and screened in cinemas, film societies and arts venues, released on DVD, presented in festivals or as stand-alone large event screenings. This is an inspiring contribution to the richness of film culture in this country. Most of these films simply wouldn’t have been available otherwise.

The bfi depends on public funding to survive, because it provides public value. Much is being debated around the notion of public value and how this cultural currency can be measured and explained in terms as easy to manage as commercial ‘profit’ value. Commercial organisations aim to maximise shareholder value. We aim to maximise public value.

Diversity and access

Around 450 films were released commercially in the UK during 2004–2005, most of them contemporary. Some will be enjoyed and vanish; some are destined to become the stuff of legacy. But the economics dictate that overall diversity is limited. The bfi acts as provocateur, by weaving original and different films into this offering: films that have not yet found an audience, perhaps by first-time, first-seen directors, many of which appear in the Festivals programme; films from other parts of the world yet to find distribution in the UK, and emerging new experimental films such as many of those in Resfest or Antenna. An area of our programming for which we are known internationally, and which often involves working with other international archives, is the large number of retrospective seasons of celebrated film-makers. They are popular because there is a thirst to see much-loved classic films, and to discover lesser-known titles which, seen in context, give audiences a deeper understanding of a film-maker’s oeuvre. Such choice brings enjoyment to viewers, but it also nurtures personal, social and global understanding, promotes tolerance and enriches lives artistically. A very important part of the diversity of film we exhibit and distribute comes from the National Film & Television Archive, almost certainly the most significant archive of moving image in the world. Film archives exist within a rapidly-evolving dynamic. The volume of film and TV production is forcing archivists to question much more closely what they preserve and how. Film is very vulnerable and digital systems are not yet sufficiently time-proofed to provide a reliable storage method. And yet digital technology does seem to promise tantalisingly easy methods of distribution. Growing public interest in heritage film is causing rights owners to re-value their back catalogues, with the predicted result that in the future they will be more likely to invest in safeguarding new releases for future generations. The NFTVA embraces this fast-changing world by adopting a three-fold plan: firstly, to invest in state-of-the-art storage systems; next to develop curatorial expertise; and lastly to promote greater access by the public to the Archive.

 The bfi annual report 2004-2005 The bfi annualannual reportreport 2004-20052004-2005  The bfi’s strategy places emphasis on the need to safeguard the future of the National Film , which is approaching the end of its estate life. Some would argue it has passed it. Such a plan must respond to the expectations of today’s audiences, 50 years since the NFT first opened in a very different world. Our response is to create a staging post, a rehearsal room – bfi Southbank – where we can actively demonstrate a commitment to reaching new audiences in new, very 21st-century, ways. Through our actions we will amplify the argument for a new National Film Centre to provide a national focus for film in Britain and to demonstrate its international scope and ambition. Our plans for exhibition/distribution and the Archive are symbiotic. One cannot succeed without the other. But there is another important magic ingredient to stimulate curious minds: education.

Lifelong learning, research and debate

The bfi has lifelong learning at its core. Education can be as simple as the film notes provided for every screening at the NFT, or the contextual material on bfi DVDs, through to more complex debates in Sight & Sound, and the reservoirs of information to be found by visiting any one of our websites or the National Film & Television Library. These facilities have a growing impor- tance. The 20th century was the first to be recorded by moving image – this changed forever the way history is understood and remembered. We would argue that, just as no child should leave school without knowing how to read and write, so in today’s society critical skills for understanding the moving image should be an essential educational entitlement.

Many film-makers can cite an influence, or pivotal moments in their lives when the experience of watching cinema shaped their thinking and provided an inspirational spark that led them to pursue a career in film, television or other creative industries.

A broad spectrum of films can aid community cohesion, and build understanding of other diverse cultures, as we temporarily see the world through different eyes. The film and television industry is still so young compared to, say, painting or sculpture, that it sometimes struggles to command cultural authority, yet no one questions the impact it has on our lives – which is why it is important that the bfi exists, and why we must constantly seek to examine and improve the public value we bring to all our audiences.

Amanda Nevill - director, British Film Institute

01 BONNIE AND CLYDE (1967/ dir Arthur Penn); 02 CARAVAGGIO (1986/ dir Derek Jarman); 03 DOGVILLE (2003/dir Lars Von Trier); 04 GHOST DOG : THE WAY OF THE SAMURAI (1999/dir ); 05 IF… (1968/dir Anderson Lindsay); 06 LE CERCLE ROUGE (1970/ dir Jean-Pierre Melville); 07 REPULSION (1965/dir Roman Polanski); 08 PERFORMANCE (1970/dirs Donald Cammell, ); 09 (1953/dir ); 10 Sight & Sound cover (Audrey Tautou); (1970/ dirs Donald Cammell, Nicolas Roeg); 11 SOLARIS (1972/ dir ); 12 MUJERES AL BORDE DE UN ATAQUE DE NERVIOS (1988/ dir Pedro Almodovar)

 The bfi annual report 2004-2005 The bfi annual report 2004-2005  The bfi’s cultural commitment

The bfi’s work explores cinema, television and other related moving-image materials in a way that reflects the cultural, historical and aesthetic diversity of those media. The bfi is concerned not only to introduce audiences to work that is new or for some other reason unfamiliar, but also to facilitate a reappraisal of acknowledged classics; it aims not only to encourage innovation and experiment, but also to foster and reward curiosity and a desire to learn more about past achievements. To tackle these challenges, the Institute runs the National Film Theatre (NFT) and a number of festivals including the London Film Festival and the London Lesbian and Gay Film Festival; it also releases films through bfi Distribution and on its own DVD label; it encourages and organises tours of packages of films around the country; and it publishes secondary materials about film and television in the form of books and the monthly magazine Sight & Sound. In terms of theatrical distribution, the films released by the bfi consisted primarily of revivals of classic titles, which in most cases – Jacques Feyder’s La Kermesse Heroique, for example, or Hiroshi Teshigahara’s Woman of the Dunes – had not been available in good prints for many years. Some films – Nicolas Roeg and Donald Cammell’s Performance, Derek Jarman’s Caravaggio and the NFTVA-restored version of ’s Summer Madness, all highlighting a commitment to British cinema – were reissued as stand-alone titles, but most releases coincided with seasons at the National Film Theatre, which would very often then proceed to play around the country. Hence, Knife in the Water and Repulsion were re-released as part of a Roman Polanski retrospective; The Women and Dead of Night tied in, respectively, with seasons devoted to and Robert Hamer; and I Vitelloni, 8 1/2 and were part of the enormously successful and comprehensive season of films by Federico Fellini. These were just four of many seasons devoted to directors at the National Film Theatre. Other examples include filmmakers from the silent era like Victor Sjøstrøm; established names like Pedro Almodóvar, Jim Jarmusch and Wong Kar-Wai or the late Lindsay Anderson and Andrei Tarkosvky; the B-movie pioneer Edgar G Ulmer; documentarists like Marcel Ophuls and Michael Grigsby; or experimental artists like Gregory Markopoulos and Valie Export. Particularly exciting were those seasons enabling audiences to encounter for the first time work by filmmakers virtually unknown in this country, such as French documentarist Nicolas Philibert, ’s Nuri Bilge Ceylan, or Barbara Albert, Jessica Hausner and other filmmakers whose work was gathered together in a season devoted to women directors working in the newly revitalised Austrian cinema. Albert’s Free Radicals was just one of several new films from around the world which were given a first extended run at the NFT; others included Julio Medem’s controversial documentary The Basque Ball; A Thousand Months by Morocco’s Faouzi Bensaidi; The Magic Gloves by ’s Martin Rejtman; and Goodbye, Dragon Inn by ’s Tsai Ming-Liang. These films alternated with revivals – also in new prints - of classic movies; not only the bfi Distribution titles mentioned above, but also Marcel Ophuls’ The Sorrow and the Pity; the Marx Brothers’ Duck Soup and David O Selznick’s Gone with the Wind (both in superb digital restorations); Tarkosvky’s Solaris and Stalker; Robert Altman’s Nashville and ’s Mean Streets.

 The bfi annual report 2004-2005 The bfi annual report 2004-2005  These last two titles were part of The , the NFT’s massive two-month exploration of American films made between 1967 (Bonnie and Clyde) and 1980 (Heaven’s Gate), one of many seasons not devoted to the work of an individual director. Performers featured strongly, of course, including the Marx Brothers, , Gene Kelly, George Formby, , Diana Dors, Nicole Kidman, Sylvia Syms and , the last two stars giving interviews on the NFT stage. Some seasons focused on films based on the works of people working in other fields (Graham Greene, Patrick Hamilton, Robert Crumb, Diaghilev and Balanchine); some dealt with national or regional cinemas (new films from Israel, Arab cinema, Basque cinema, Austria, French documentary); others explored a genre (, horror, gangster films of the silent era); still others a theme ( as portrayed by non-Indian directors, the sequence shot, a history of lesbian cinema). Television also featured strongly, of course, including a season devoted to the work of Dennis Potter; a fortieth-anniversary tribute to BBC2; the premieres of works as diverse as Stealing a Nation (with John Pilger returning to the NFT stage) and Searching for the Wrong-Eyed Jesus (with alt. country artist Jim White visiting the NFT to discuss the film and play a few songs to a thrilled audience); and of course TV2004.

This last was just one of several festivals held at the NFT. Besides bfi London Film Festival (which also takes place in a clutch of other venues in London and various cities around the country) and the London Lesbian and Gay Film Festival, the NFT hosted the Disability Film Festival; the Sheffield International Documentary Festival on Tour; Crime Scene; and Resfest which, along with the regular Antenna evenings, allowed audiences to enjoy a wide range of cutting-edge work in the fields of promos, shorts, advertising and the avant-garde. At the other end of the spectrum could be found such blasts from the past as an evening devoted to Wilson, Keppel and Betty; the annual Archive Cricket Evening; a centenary tribute to the Royal Academy of Dramatic Arts which included a screening of Masks and Faces, a long-lost, recently rediscovered film by Fred Paul dating from 1917; and, last but most definitely not least, a series of programmes devoted to The Lost World of Mitchell & Kenyon.

The magnificent Mitchell & Kenyon collection of films, as restored by the NFTVA and as seen by an enthralled nation on BBC, were not only shown theatrically at the NFT and elsewhere; they were also the subject of a bfi book and were released on DVD by bfi Video. The latter released titles ranging from established classics like Jean-Pierre Melville’s Le Cercle Rouge, Luchino Visconti’s The Leopard, GW Pabst’s The Threepenny Opera and Luis Buñuel’s L’Age d’Or with Un Chien Andalou; through lesser-known titles like Charles Burnett’s To Sleep with Anger and Waris Hussein’s The Sixth Happiness (examples of the bfi’s commitment to reflecting and engaging with cultural and sexual diversity and the experiences of the disabled); to experimental artists’ films like the work of William Raban or Bill Mor- rison’s Decasia.

A similarly catholic approach could be found in the books brought out by bfi Publishing, which, together with the monthly magazine Sight & Sound, helped readers to appreciate, enjoy and understand more fully the dazzling array of film and TV material released and screened by the bfi throughout the year.

01 The Maltese Falcon (1931/ dir Roy Del Ruth) 02 The Woodsman (2004/ dir Nicole Kassel) 03 The Leopard (1963/dir Luchino Visconti) 04 Come on George! (1939/ dir Anthony Kimmins) 05 Expresso Bongo (1960/ dir Val Guest) 06 Heaven’s Gate (1980/Michael Cimino) 07 Point Blank (1967/dir John Boorman) 08 AMARCORD (1973/ Geoff Andrew – head of programming, bfi National Film Theatre dir Federico Fellini) 09 Sixth Happiness (1997/ dir Waris Hussein) 10 My Summer of Love (2004/ dir Pawel Pawlinkowski) 11 Masks and Faces (1917/ dir Fred Paul) 12 Jour de Fête (1949/ dir Jacques Tati)

10 The bfi annual report 2004-2005 The bfi annual report 2004-2005 11 Governors’ report

Reaching out

What you saw

From the Island of Unst in to Land’s End in Cornwall, no screen is too small or too remote for a bfifilm to be seen and enjoyed.

This year was no exception with over 750 venues across the UK screening a bfi film. From the notorious and celebrated directorial debut of Nicholas Roeg and Donald Cammell’s Performance (1970), Roman Polanski’s feature debut Knife In The Water (1962) to Repulsion (1965) and David Lean’s love letter to Venice Summer Madness (1955), the bfi offered dozens of new classics and films from the 15,000 available in our catalogue. Amazing films were also on offer in the many touring programmes screening the length and breadth of the UK including gems from the Times bfi London Film Festival, the annual London Lesbian and Gay Film Festival, French and American cinema, and Horror and Documentary. From Hong Kong, Korea and Istanbul, to Sweden, and Sydney, overseas audiences also enjoyed bfi films in more than 200 venues and festivals including a major retrospective on the work of award-winning director in Barcelona and Madrid.

Big screen, little screen

As part of the hugely successful project to restore and showcase the Mitchell & Kenyon Collection, we worked with the BBC on a three-part documentary series The Lost World of Mitchell & Kenyon. The public’s appetite for heritage film could not have been more clearly demonstrated as this extraordinary collection transferred to the small screen and blew away viewing forecasts by attracting up to four and a half million viewers an episode, followed by healthy sales of the DVD of the series as well. A curated selection of highlights – Electric Edwardians: The Films of Mitchell & Kenyon – also screened in Wolverhampton, Glasgow, Cambridge, Manchester, London, Bradford, Oxford and Derby, with 30 further venues scheduled for later in the year. (For more on Mitchell & Kenyon see page 26-27.)

Small screen viewers were also much taken with bfi DVD which – with its huge catalogue of film and television – offers unparalleled opportunities to see material which would otherwise not be available. One of our great success stories, bfi DVD has brought a whole world of international and UK classic, silent and documentary cinema and archive television to audiences including Jacques Tati comedies, (1967), (1958), Les Vacances de M. Hulot (1953) and Jour de Fête (1949), Visconti’s beautiful epic The Leopard (1963), and the radical Sixth Happiness (1997). We released 28 titles on DVD and sold 266,000 copies.

12 The bfi annual report 2004-2005 The bfi annual report 2004-2005 13 bfi online Where you saw it

Information on all these titles and more can be found on our website (www.bfi.org.uk) which, with its Avant-garde, experimental, digital and animated – all rubbed shoulders with the classic, the silent, 30,000-plus pages and 23 million visitors over the year, is one of the world’s main online destinations the cultish and the archival rarity in the bfi’s National Film Theatre (NFT) this year. Host to festivals, for information about film and film research. A new weekly email bulletin for NFT and IMAX customers gala screenings, on-stage interviews and conversations, as well as special seasons and previews, the was also launched along with webcasting during this year’s The Times bfi London Film Festival. choice on offer at the NFT continued to grow and delight new audiences and existing fans while also embracing new formats and innovations. This included trialling the pioneering digital testbed which Shakespeare, ’s 70th anniversary, TV police and detective dramas, and screens digitised prints – including Gone with the Wind and Singing in the Rain. In real-life events we Chinese-British film were all among the rich offerings on Screenonline – the bfi’s hugely popular online were delighted to host some notable guest appearances including John Pilger, , Dilip resource (www.screenonline.org.uk). In particular, its exploration of the Asian-British cinema boom Kumar, Malcolm McDowell and Sylvia Syms and – in Interview series –Walter Salles, proved to be one of the site’s most popular features this year. Available through nearly 4,000 schools, Jonathan Glazer, and Robert Crumb. libraries and educational establishments, Screenonline now has 2,000 film and television works, 300 hours of moving image and around 800 biographies of key personalities and organisations – all Over 2,000 films were screened at the bfi NFT and admissions increased more than eight per cent adding up to an unrivalled resource on British films and television and their effect on social history. on the previous year – to become the highest figure for 13 years. Its format has been so successful, that Sweden, , and New York have borrowed the To meet ambitious new plans for how we see our cultural riches developing in the future, however, concept for new or developing projects in their countries. we are looking at a radical and exciting rethink of how we offer film and television. Our vision is to create a landmark National Film Centre at a new purpose-built site on London’s South Bank within the next seven years. In the interim our wonderful but slightly worn-out bfi NFT will be refurbished and a Working with our partners number of new features added. In the refurbished space you’ll be able to watch rare archive film and television in a new mediatheque, enjoy film-related exhibitions and events in a new gallery space, buy bfi In response to a new structure for cultural film activity in the UK, we set up a Partnership Office DVDs, books and other film publications in an on-site bookshop and relax in a new café and bar area. to reflect these changes and coordinate work with our UK partners. The Office oversees our services to regional film archives, regional screen agencies and regional exhibitors, delivers events in the regions and provides a focus for developing national strategies for archives, education, exhibition and distribution. It is also managing our relationships with both the Independent Cinema Office (a key agency for specialised cinema programming) and Film Education (the national film education resource provider, whose services complement the strategies and activities of bfi education). To help keep local cinema alive and flourishing, the Office is working on a joint study with the UK Film Council, EM Media and Film London looking at all the reasons why these local centres are important and necessary. And we are in discussion with potential regional partners to look at setting up mediatheques around the UK to allow unprecedented access to digital material from our Archive.

Shown here are just some of the Guest appearances at the NFT during the year. From left to right: Jonathan Glazer; and Terry Jones; Sylvia Syms; Marcel Ophuls; Malcolm McDowell; Ken Russell; Colin Firth; Nicole Kassell; Walter Salles

14 The bfi annual report 2004-2005 The bfi annual report 2004-2005 15 Big, bigger, biggest

The bfi London IMAX has the largest cinema screen in Europe. Its massive screen helps bring in a broader and often younger audience (especially as it is equipped to show films in fabulous 3D) as does our training and resources work with teachers and students. Although the relative scarcity of IMAX-specific films has been a , new technology advances now allow mainstream 35mm films to be digitally enhanced to IMAX proportions without loss of quality.

Blockbusters Harry Potter and the Prisoner of Azkaban, Spider-Man 2 and Robots were all digitally re-mastered for the giant IMAX screen while sell-out houses watched marathon all-night screenings of the Lord of the Rings and The Matrix trilogies. Robert Zemeckis’ state-of-the-art animated 3D Christmas story The Polar Express was a phenomenal success, with sell-out screenings running into March, making the bfi London IMAX Cinema the film’s top performing IMAX venue outside the US.

Altogether, a total of more than 574,000 people visited our NFT and IMAX cinemas.

Accessibility

We continued to invest in improving physical access not only to our premises but also to our cultural programme. This year we improved disability access at Stephen Street in the reception area and to the viewing theatres, and work is planned at the bfi NFT later in 2005. A specialist access advisor will guide the refurbishment at the Southbank.

At the bfi NFT and during festivals we provide support at selected screenings, and for all English language DVD titles we include sub-titles.

Appearing at the bfi London Imax this year. from left: Harry Potter and the Prisoner of Azkaban; The Lord of The Rings Trilogy; Robots; Spiderman 2; The Polar Express; The Matrix Trilogy

16 The bfi annual report 2004-2005 The bfi annual report 2004-2005 17 Opening night at the Odeon Leicester Square with Mike Leigh and Imelda Staunton; Takeshi Kaneshiro; Joan Allen, Sally Potter and Simon Abkarian, Festivals Kevin Bacon and Kyra Sedgewick; the Odeon West End; raw recruits from A Few Good Dykes

More than 180 feature films and1 00 shorts from over This year, a development grant from the London Development Agency, Creative London and the Mayor of London through Film London brought in six more venues in the city’s outer boroughs as part of the 50 countries were shown in 364 screenings at The Times Film in the City project. The grant also enabled a major extension to the services and facilities offered bfi London Film Festival with a record-breaking 116,000 to industry delegates, including a dedicated industry screening at the Curzon Soho, new viewing admissions. This year’s 48th festival also welcomed 514 equipment, an industry publication and a large number of discussion panel and networking events. For the first time, Skillset supported a career development training programme for new film-makers. film-makers and 1,395 press and industry delegates from 48 countries. London Lesbian and Gay Film Festival

Running for two weeks every autumn across a range of London venues, the festival brings the highest The bfi’s London Lesbian and Gay Film Festival is the largest festival of its kind in Europe and one of concentration of contemporary world cinema to Britain, presenting emerging cinema from countries the most prestigious lesbian and gay events in the world and attendances this year topped 25,000 with whose work may otherwise have been overlooked or neglected and which are rarely shown in other a record 61 screenings. Highlights included the opening night gala Prey For Rock and Roll, Gregg cinemas. New talent is also celebrated with the bfi Sutherland Trophy for the best first feature going Araki’s closing night sensation Mysterious Skin, Ian Iqbal Rashid’s Touch of Pink, Todd Solondz’ to Jonathan Caouette for his impressive debut Tarnation (2004). Palindromes, Asia Argento’s The Heart is Deceitful Above All Things, the first-ever collaboration with Tate Modern featuring a retrospective of William E Jones’ work, and a special programme of work by Jennifer This year we were delighted to screen Mike Leigh’s award-winning Vera Drake (2004) as the festival’s Reeves at LUX. Visits to the LLGFF website increased by 46%, while online ticketing grew four-fold. opening night gala film with I ♥ Huckabees closing the festival – and its director David O Russell taking part in a Times Screen Talk. .

18 The bfi annual report 2004-2005 The bfi annual report 2004-2005 19 Looking forward: Aims for 2005–2006 Reaching out

– Continue to tour the Electric Edwardians collection highlights so these remarkable films can be shown to as wide an audience as possible. – After years in the planning, launch one of the biggest national celebrations of Black moving image culture seen in the UK – Blackworld. – As ITV’s official archive, celebrate ITV’s 50th anniversary in 2005. – Following the huge success of our collaboration with the BBC to bring Mitchell & Kenyon to the small screen, investigate opportunities for further broadcast co-productions – in particular The Open Road, an early colour film held in our Archive, shot in the 1920s by Claude Friese-Greene. – Boost DVD and book customer service through centralising ordering services, including online facilities. – Increase online access to moving image material and information and move the bfi’s extensive database online. – Create a series of interactive archive tours on Screenonline to promote and showcase the bfi’s archive material and expand new audiences worldwide. – Increase online access to our archives through initiatives like the Creative Archive partnership with the BBC, and the Open University which allows free download of archive material from our website for non-commer- cial creative use. – Refurbish the bfi National Film Theatre site and the space formerly occupied by the Museum of the Moving Image. – Continue to prioritise our work with The Times bfi London Film Festival to secure the continued support of our current partners and sponsors, and further develop the festival with new supporters and new programmes.

20 The bfi annual report 2004-2005 The bfi annual report 2004-2005 21 Looking after the past to enrich the future

The bfi Archive (National Film and Television Archive) is the largest and one of the busiest in the world – handling around 12,000 print loans this year alone – and is one of the most significant heritage collections in the UK. Our expert teams of engineers and conservators who care for this irreplaceable legacy are seen as world leading in preservation and restoration, and often collaborate with international partners on-site.

The bfi collections are the biggest source of archive cultural film in Britain and form a key part of the extensive distribution programme we offer to screening venues, film societies and festivals up and down the country. ITV, Channel 4 and Channel 5 programming is also recorded and archived by the bfi, as part of the channels’ legal requirements in this area.

This year, the bfi also took a long hard look at how the Archive was working and at ways it could be improved. A programme of retraining and recruitment to bring new skills on board, particularly in subject expertise and curatorial areas, was put in place and staffing levels were reduced. Curatorial teams now not only look after but also raise awareness of the value and importance of the collections so more people and organisations can engage with and use them. BLACK NARCISSUS (1947/dir Michael Powell and Emeric Pressburger); NAPOLEON (1927/dir Abel Gance); AKENFIELD (TV) (1974/dir Hall Peter); KID AUTO RACES AT VENICE (1914/dir Henry Lehrman); MABEL AT THE WHEEL (1914/dir Mabel Normand and ); NORTH STREET MILL, CHORLEY (1900/ Mitchell and Kenyon); UNDERGROUND (1928/dir Anthony Asquith); Dennis Potter on the SOUTH BANK SHOW (1978); ROYAL VARIETY PERFORMANCE (1963/ dir Bill Ward); THE LONELINESS OF THE LONG DISTANCE RUNNER (1962/dir Tony Richardson); SUMMER MADNESS (1955/dir David Lean); NIGHT OUT (TV) (1965/dir Pat Johns)

22 The bfi annual report 2004-2005 The bfi annual report 2004-2005 23

Looking forward: Aims for 2005–2006 Consciousness raising Film and TV heritage

Increasing access and understanding of this extraordinary resource is at the heart of our development – Develop a national strategy for archives in consultation plans for the Archive. We are doing this through partnerships with broadcasters – as with the BBC and with the UK Film Council and the DCMS. Mitchell & Kenyon – or with major studios such as Granada and their restoration of Black Narcissus (1947). Other priorities include setting up new mediatheques where people can enjoy unprecedented – Promote the bfi’s curatorial research work, reflecting our new focus on a curatorially-driven Archive. and informal access to digitised material from the Archive. A huge achievement this year was a full restoration of one of the pinnacles of silent cinema Piccadilly (1929), also distributed on DVD, that – Develop policies for bfi and related collections, launched at the New York Film Festival to a capacity audience, with a specially commissioned score collecting data, and collections care and disaster by British musician Neil Brand. The film subsequently played with a live orchestra, again to a sell-out planning, once the external consultation on the audience, at the Barbican in London. revised Collecting Policy has been completed. – Continue work on rehousing the nitrate film holdings Behind the scenes, we significantly improved and upgraded our storage facilities to prevent at Gaydon and carry out ongoing surveys of the further deterioration of materials, targeting areas of the collection that were most at risk or which, condition of our acetate collection to determine how in the experience of our curators, had most cultural value in terms of uniqueness or cultural and much material is likely to require cold storage. historical significance. – With a shift towards new recording technologies, the bfi To help us prioritise British works and establish clear protocols for acquisition, we have drafted, and is often called upon to look at moving image on sent out for international consultation, a new Collecting Policy, and set up a bfi Governor-chaired obsolete formats. A priority for 2005 will be to forecast committee of international experts to support us with the future development of the Archive. Following future demand in this area and ensure the Archive on from this work, we can now take the lead in drawing up a new national strategy for Archives. We retains the technology to meet it. have a clear model for the future of our moving image collections and we are the skill centre for the sector in terms of technical capability and knowledge. – Celebrate the centenary of the birth of the great British director Michael Powell, including a showcase of his work from the Archive, restored by the bfi and relevant partners, to be screened at the .

CUNARD VESSEL AT (1901) (1900/ Mitchell and Kenyon) BLACK NARCISSUS (1947/dir Michael Powell and Emeric Pressburger) PICCADILLY (1929/dir Arnold Bennett);

24 The bfiannual report 2004-2005 The bfi annual report 2004-2005 25 Archive Spectacular

Mitchell & Kenyon Collection

The launch of the Mitchell & Kenyon Collection this year was a tremendous undertaking for the Discovered in a shop basement in after lying unnoticed for 70 years, the films were bfi and one which has clearly emphasised our commitment to reach new audiences and work more painstakingly restored over four years by the bfi in a project part-funded by the Arts and Humanities effectively out of London through partnership. The initiative was an important film heritage public Research Board, and in partnership with the National Fairground Archive at the University of Sheffield. access project that was planned and carried out across the bfi and also marked a new direction in terms of curating material from our collections and making it available to a wide audience. To mark the completed £1 million restoration, the bfi hosted a special gala screening at King George’s Hall, Blackburn, from where the films were rediscovered. A three-part BBC The project celebrated the pioneering contribution to the British film industry of Sagar Mitchell and television series was broadcast in January, winning critical acclaim and excellent viewing figures. James Kenyon, who made films of ordinary people going about their daily lives in the early years of the 20th century. This remarkable collection of films was commissioned by travelling showmen to The collection was brought back to life through a programme of events and activities including a screen at fairgrounds and other locations across the UK. It provides a fascinating record of everyday nationwide tour to cinemas with films of specific local interest, an accompanying book and a DVD life in Edwardian Britain. of the BBC series. A further DVD is scheduled for release later in the year.

Left to right: Manchester and Salford Harriers’ Procession (1901); Hull City Football (1905 – 1906); Left to right: Cunard Vessel at Liverpool (1901); Panoramic View of the Morecambe Sea Front (1901); Rotherham Town v Thornhill (11 February 1902); Electric Tram Rides From Forster Square, Alfred Butterworth & Sons, Glebe Mills, Hollinwood (1901); Sheffield United v Bury (1902); North Sea Bradford (1902); Manchester Band of Hope Procession (1901); Race for the Muriatti Cup (1901) Fisheries (1901); Pendlebury Colliery (1901)

26 The bfi annual report 2004-2005 The bfi annual report 2004-2005 27 Lifelong learning, research and debate

In many respects, all of the bfi’s work can be described as educational. Everything we do can be inspirational, encourage understanding, spark debate, raise awareness and broaden horizons. Providing opportunities for anyone, anywhere, to use and learn more about our moving image culture – inspiring appreciation and passion for this astonishing medium – lies at the centre of our learning and education work.

bfi Education covers a very broad spectrum of activities that includes organising conferences, bringing students to the bfi’s NFT for film and learning events, providing hard copy and online teaching resources and training materials, championing media literacy on the national and international stage, and contributing to teachers’ professional development. While bfi Education has a particular focus on higher education and schools and colleges, we also target broader adult audiences who are interested in understanding film and television. More than 18,000 learners of all ages came to events at the bfi NFT to explore topics such as TV advertising, The Lost World of Mitchell & Kenyon and American Cinema in the 70s with leading cultural commentators such as Mark Kermode, Nicolas Philibert, Christopher Frayling and Richard Dyer.

In 2004–2005, we had 17,531 education admissions at the bfi NFT; 5,451 education admissions at bfi festivals; 755 film club attendees; 1,439 teacher training places at INSETs, conferences and courses, and 4.5 million visits to the education pages of the bfi website.

28 The bfi annual report 2004-2005 The bfi annual report 2004-2005 29 Best practice During 2004, a new distance learning course for aspiring film journalists, offered The resources of bfi Education play a key role in benchmarking good practice in association with Sight & Sound, was so popular it was four times oversubscribed. in a curricular area where there is little initial training for teachers. We provided professional development for more than 1,500 teachers ranging from basic sessions to year-long distance learning courses accredited at Master’s level, with 190 teachers gaining accreditation this year. bfi Publishing Our commitment to raising awareness and promoting media literacy was strengthened at an international bfi conference in Belfast with 105 media educators from 23 countries. Following the conference an agreement was secured on a bfi Publishing brought out 30 new books, including two titles in the brand new European Charter for Media Literacy with lead organisations in eight European bfi Screen Guide series, 100 American Independent Films by Jason Wood and countries. Over 300 delegates also came to our two national conferences for 100 Modern Soundtracks by Philip Brophy, and nine new educational resources, media teachers and a new scheme was launched with local education authorities including Understanding Realism in our series Understanding the Moving Image, in England and Scotland to train ‘lead practitioners’ for moving image media and Teaching Women and Film in our popular series of teachers’ guides, literacy. Teaching Film and Media Studies. Overall, sales of bfi books through traditional outlets in the UK and overseas remained stable with 332,000 books and educational resources sold.

Many of the bfi’s more popular titles are aimed at a broader audience with an bfi National Library informed interest in cinema and television. These include the acclaimed bfi Film Classics series and its companion series bfi Modern Classics, focusing on the best You can access the world’s largest collection of information on film and in classic and contemporary world cinema. We released six new titles in this series television in our bfi National Library where there are more than 46,000 books, including The Matrix by Joshua Clover and four new bfi Film Classics including if... 5,000 periodicals, over two million newspaper cuttings and a legendary by Mark Sinker which tied in with the Lindsay Anderson season at the NFT. The bfi database. Information has been collected over the last 70 years on this Film Classics and The Shawshank Redemption reached a wide audience database and we are now planning to move it online during the next two years. through their inclusion in special anniversary editions of the respective DVDs. Other You can also see papers, screenplays, posters and other materials from film notable titles published this year include The French Cinema Book, a comprehensive and television history in the bfi Special Collections, with a special service for resource on French film edited by Michael Temple and Michael Witt, and a timely researchers to view Archive moving footage and information. This year 40,500 new addition to the bfi World Directors series, Wong Kar Wai by Stephen Teo, which people used our Library services. includes a chapter on Wong’s film 2046.

Sight & Sound Looking forward: Aims for 2005–2006 lifelong learning One of the world’s leading English-language film magazines, Sight & Sound this year won the Subscription Magazine of the Year award at the PPA Circulation – Lead the promotion of media literacy in schools. Marketing Awards. – Debate and demonstrate the importance of Archive and World film in Featuring a consistently strong line-up of work by the best writers on cinema, children’s education. articles this year ranged from an exclusive interview with Martin Scorsese, – Review how we can get more people to see, use and enjoy the unrivalled through an appreciation of new work by leading foreign language directors such collection of film and television materials in our Archive and Library. as Pedro Almodóvar (June’s cover star) to a sneak preview of the Mitchell & – Redesign Sight & Sound to make it more readable and user-friendly. Kenyon Collection, which included a tie-in book offer for bfi Publishing’s The – Develop an online series of workbooks for classroom use, alongside the Lost World of Mitchell & Kenyon. The highest-selling copy in recent years was Teaching Film and Media Studies series. Web delivery of our teaching a special issue devoted to film music, which saw contributions from high-profile resources is a priority. film-makers such as Woody Allen and Francis Coppola. – Investigate ways to further exploit and promote our broad and rich collection of moving image stills and posters. Sight & Sound sales remained relatively steady at 278,150, an average of 23,179 per issue. This turnover has prompted a review of the look of the magazine and how it could appeal to more readers. A redesign will take place later in 2005.

30 The bfi annual report 2004-2005 The bfi annual report 2004-2005 31 About the bfi

The bfi was established in 1933 to promote greater understanding, appreciation and access to film and television culture in Britain. In 1983 the Institute was incorporated by Royal Charter, a copy of which is available on request.

Summary of legal objectives:

– To establish, care for and develop collections reflecting the moving image history and heritage of – To encourage the development of the art of film, television and the moving image throughout the United Kingdom – To promote the use of film and television culture as a record of contemporary life and manners – To promote access to and appreciation of the widest possible range of British and world cinema – To promote education about film, television and the moving image generally, and their impact on society The bfi’s main funder is the UK Film Council (UKFC) using resources delegated by the Department for Culture, Media and Sport (DCMS). It is a registered charity, number 287780.

Partnerships and Collaborations

Much of what the bfi has achieved could not have happened without the support and generosity of a number of individuals, organisations, companies, charitable trusts and foundations, to whom we are extremely grateful. The bfi has also received a number of legacies for which we are also very thankful.

32 The bfi annual report 2004-2005 The bfi annual report 2004-2005 33 Left to right: À Nous la Liberté (1931/ dir Clair Rene); Summer Soldiers (1972/ dir Hiroshi Teshighara); 2046 (2004/ dir Wong Kar-Wai); Breakfast At Tiffany’s (1961/ dir Left to right: Melinda and Melinda (2004/ dir Woody Allen); Mon Oncle (1958/ dir Jacques Tati); Moulin Rouge! (2001/ dir Baz Luhrmann); Singin’ in the Rain (1952/ dir Blake Edwards); Sight & Sound cover feat. The Life Aquatic with Steve Zissou (2004/ dir ); I ♥ Heart Huckabees (2004/dir David O. Russell); Stanley Donen and Gene Kelly); The Event (2003/ dir Thom Fitzgerald); (1949/ dir Carol Reed); The Wind (1928/ dir Victor Sjöström); The Women (1939/ dir (2004/ dir Brad Bird); Duck Soup (1933/dir Leo McCarey); (1960/dir Federico Fellini); L’Âge d’or (1930/ dir Luis Buñuel); London Lesbian & Gay Film Festival 2005; George Cukor); Vanity Fair (2004 / dir ); Vera Drake (2004/ dir Mike Leigh); Sight & Sound cover feat Julie Delpy; Gone With The Wind (1939/ dir Victor Fleming) Mean Streets (1973/ dir Martin Scorsese)

34 The bfi annual report 2004-2005 The bfi annual report 2004-2005 35 How the bfi is governed

The bfi is governed by a Board of 15 trustees subject to the terms and conditions set out in the Charter. The Governors, who are also the trustees of the charity, submit their annual report and the audited financial statements for the year ended 31 March 2005. In preparing the annual report and financial statements of the charity, the Governors have adopted the Statement of Recommended Practice, Accounting and Reporting by Charities issued in February 2005 (SORP 2005).

Governors

The Governors who served during the financial year and as Governors at the date of signing these accounts are: Anthony Minghella CBE (Chair), David Kustow (Deputy Chair), Jenny Abramsky CBE, John Akomfrah Tim Angel OBE , Eric Fellner CBE, Lizzie Francke, , Leslie Hardcastle OBE, Terry Ilott, Nasreen Munni Kabir, Professor Roger Laughton CBE, Caroline Michel, Professor Elan Closs Stephens CBE, Peter Watson. There were no appointments or resignations during the year.

Methods of Appointment

All Governors are appointed by the bfi Board of Governors, subject to ratification by the UK Film Council. Two places on the Board are reserved for Member Governors. These are nominated and voted for by the bfi’s various members and subscribers throughout the United Kingdom. Such appointments also need to be ratified by the UK Film Council but approval would not normally be withheld except in matters where there is a conflict of interest arising.

36 The bfi annual report 2004-2005 The bfi annual report 2004-2005 37 Methods of Appointment-continued Organisational Structure

All Board positions are publicly advertised and fall for re-election every three years, with a total The Board of Governors delegates specific responsibilities to its Committees. Membership of limit of six years’ service being set in accordance with the bfi Royal Charter. Newly appointed these Committees is identified on page 6, and also comprises Officers and Professional Advisers. Governors receive a letter of appointment and an induction programme which together covers Recommendations made by Committees are presented to the Board as a whole for approval. general responsibilities, committee membership and involvement outside of formal Governors’ meetings. Emphasis is placed on close and regular consultation with Governors individually and collectively.

The Chair of the Board of Governors is appointed with the approval of the Secretary of State A brief description of each Committee and its function is given below: for Culture Media and Sport by the Film Council with Governors being appointed by the Board, subject to ratification by the Film Council. – Budget and Performance Committee approves capital and revenue budgets, sets the bfi’s operational targets, and monitors performance They are men and women with a wide range of experience and interests in film, television, the moving image generally, and public service, business and industry. All are part-time non- – Nominations and Appointments Committee makes recommendations to the Board of executives and meet monthly. Governors about appointments to the Board – Property Committee manages on-going capital development projects, considers future options, and recommends preferred options to the Board

– Remuneration Committee determines and keeps under review the levels of pay, and the terms and conditions of service, for the bfi Director and other senior managers The Board of Governors has corporate responsibility for: – developing the overall strategic direction of the bfi within the policy framework agreed – Diversity Committee advises the Board to ensure that the bfi, as a public body, properly serves and with the Film Council reflects the diverse audiences within the UK, by delivering its services to meet the needs of these different groups with the ultimate aim of recognising and celebrating diversity in all its activities – ensuring that the bfi as a public service body complies with any statutory or administrative requirements for the use of public funds and to maximise bfi value for money – Audit and Governance Committee reviews the effectiveness of the processes, structures, and controls used to direct, manage and account for the financial and business affairs of the bfi. The Audit – ensuring that the bfi acts reasonably and prudently in all matters relating to its charity status and Governance Committee considers all internal and external audit reports and recommendations – appointing the Director and monitoring senior management performance – ensuring that all bfi properties and assets are protected and effectively used in the pursuit of the bfi’s overall mission

– ensuring commercial activities are self financing and aligned to the bfi core purpose and that these The following committees included the listed Governors during the year activities uphold fair trading standard requirements

– ensuring that any fund-raising activity carried out on behalf of the bfi is properly undertaken and that all funds collected are properly accounted for Budget and Performance Terry Ilott, David Kustow, Tim Angel

– overseeing the delivery of planned results by monitoring performance against agreed strategic Nominations and Appointments Nasreen Munni Kabir, Stephen Frears, Lizzie Francke, objectives and targets David Kustow, Anthony Minghella, Roger Laughton

– ensuring that the bfi’s rules for the recruitment and management of staff provide for appointment Property David Kustow, Eric Fellner, Roger Laughton and advancement on merit on the basis of equal opportunity for all applicants and staff Remuneration Roger Laughton, Leslie Hardcastle, – ensuring the board operates sound environmental policies and practices in accordance with the Anthony Minghella approach set out in the 1990 White Paper ‘This Common Inheritance’, the government’s green Diversity Nasreen Munni Kabir, David Kustow initiatives and other relevant guidance Audit and Governance Jenny Abramsky, David Kustow, Roger Laughton

38 The bfi annual report 2004-2005 The bfi annual report 2004-2005 39 Statement of Governors’ Responsibilities bfiExecutive

Charity law requires the Governors to prepare the financial statements for each financial year which give Under the guidance of the Governors, the Director concluded a fundamental strategic review of a true and fair view of the state of affairs of the charity and its subsidiaries and of the surplus or deficit for the bfi. A new executive team and organisational structure now comprises Directors from eight new that period. In preparing those financial statements, the bfi has: divisions, reporting to the bfi Director: – selected suitable accounting policies and then applied them consistently; Amanda Nevill – Director – made judgements and estimates that are reasonable and prudent; Eddie Berg – Artistic Director, bfi NFT and IMAX (bfi southbank) – stated whether applicable accounting standards and statements of recommended practice Jim Hamilton – Head of bfi NFT and IMAX have been followed; and Sandra Hebron – Artistic Director, Festivals – prepared the financial statements on the going concern basis Jill McLaughlin – Director of Planning and Resources Roy Payne – Director of Communications The Governors have overall responsibility for ensuring that the charity has appropriate systems of Catharine Pusey – Director of bfi Trading controls, financial and otherwise. They are also responsible for keeping accounting records, which Heather Stewart – Cultural Programming Director (UK Wide) disclose with reasonable accuracy at any time the financial position of the bfi and enable them to ensure Francesca Vinti – Director of Development that the financial statements comply with the Charities Act 1993 and the Statement of Recommended Jeanette Wilkins – Finance Director Practice, Accounting and Reporting by Charities (SORP 2005). They are also responsible for safeguarding the assets of the bfi and hence for taking reasonable steps for the prevention and UK Wide – Archive Library, Distribution, Education, Partnerships, screenonline detection of fraud and other irregularities and to provide reasonable assurance that: bfi southbank – NFT, IMAX – the charity is operating effectively and efficiently; bfi Trading – film sales, Sight & Sound, Publishing , DVD/Video sales – its assets are safeguarded against unauthorised use or disposition; Festivals – proper records are maintained and financial information used within the charity or for Planning & Resources publication is reliable; Finance – the charity complies with relevant laws and regulations; and Development – the Audit and Governance Committee acts on behalf of the Governors in this respect Communications & Marketing The Board of Governors has adopted the Code of Best Practice for board members of Public Bodies, and maintains a register of interests of board members. This is available for inspection, on request, at the bfi’s main administrative centre at 21 Stephen Street, London W1T 1LN.

40 The bfi annual report 2004-2005 The bfi annual report 2004-2005 41 Risk Management Statement

As part of the Charity’s risk management process the Governors acknowledge their responsibility for the Charity’s system of internal control and reviewing its effectiveness. It is also recognised by the Governors that such a system is designed to manage rather than eliminate the risk of failure to achieve the Charity’s objectives and can only provide reasonable, not absolute, reassurance against material misstatement or loss. The Governors, through the Executive Directors, have set policies on risk and internal controls, which cover the following: – the responsibility of management to implement the Governors’ policies and identify and evaluate risks for their consideration on an ongoing basis – consideration of the type of risks the Charity faces – the level of risks which they regard as acceptable – the likelihood of the risks concerned materialising – the Charity’s ability to reduce the incidence and impact on the business of risks that do materialise – the costs of operating particular controls relative to the benefit obtained – arrangements for monitoring and reporting on risk and control matters of importance, together with details of corrective action being undertaken

During the year the Audit and Governance Committee commissioned the Executive Board to carry out a comprehensive review of financial, operational and commercial risks. A detailed risk analysis has been developed with full involvement throughout the bfi, which has been reviewed by the Committee. This work was further augmented as part of a full business continuity planning exercise during the year, aimed at reviewing the types of risks the Charity and each operating division and its departments face, rioritising them in terms of potential impact and likelihood of occurrence and identifying means of mitigating the risks. The charity risk map and risk register, together with individual divisional risk registers, identifying strengths and weaknesses of control together with actions required and taken to rectify the latter, have been prepared, updated and reviewed regularly by the Directors and management. The charity’s risk register and risk map are formally reviewed and updated by the directors each year, and are reviewed by the Committee annually.

During the year the Governors, through the officers of the Audit & Governance Committee, have received reports from the Directors and from the external and internal auditors relating to risk and control. The reports have enabled the Governors to satisfy themselves that the above policies are being implemented, that significant weaknesses of control identified are being promptly addressed and on the overall adequacy and effectiveness of the Charity’s system of internal control at the year end.

42 The bfi annual report 2004-2005 The bfi annual report 2004-2005 43 STATEMENT OF FINANCIAL ACTIVITIES CONSOLIDATED AND CHARITY BALANCE SHEET Year ended 31 March 2005 31 March 2005

Restated Restated Restated 2005 2004 Note Group Group Charity Charity Unrestricted Restricted Total Total 2005 2004 2005 2004 Note £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000

Incoming resources Incoming resources from generated funds Voluntary Income Fixed assets: Grant-in-aid 4 16,000 16,000 14,500 Tangible fixed assets 11 45,158 46,214 45,158 46,197 Other grants, legacies and donations 573 1,954 2,527 1,593 Investments 12 - - 96 96 Lottery awards 5 - 33 33 1,466 Donated services 1,120 120 1,240 923 Total fixed assets 45,158 46,214 45,254 46,293 Investment income 6 154 154 100 Incoming resources from charitable activities Current assets: Lifelong learning 3,591 3,591 3,406 Stocks & work in progress 13 440 494 415 466 Distribution & Exhibition 7,085 - 7,085 7,408 Debtors 14 3,050 2,784 3,256 2,928 Cinema heritage 1,439 1,439 1,323 Cash at bank and in hand 15 5,048 5,120 4,494 4,542 Other incoming resources 24 24 203 Total current assets 8,538 8,398 8,165 7,936 Total incoming resources 29,986 2,107 32,093 30,922 Liabilities: Resources expended Creditors: amounts falling due within one year 16 (5,840) (7,200) (5,516) (6,817) Costs of generating funds Costs of generating voluntary income 434 434 259 Net current assets 2,698 1,198 2,649 1,119 Charitable activities Lifelong learning 7,999 768 8,767 8,650 Net assets excluding pension liability 47,856 47,412 47,903 47,412 Distribution & Exhibition 11,658 471 12,129 12,451 Cinema heritage 7,184 517 7,701 9,092 Defined benefit pension scheme liability 17 (20,642) (18,767) (20,642) (18,767) Governance costs 181 181 138 Restructuring costs 139 1,531 1,670 352 Increase in provision arising on pension liabilities - FRS17 9 1,924 - 1,924 902 Net assets including pension liability 27,214 28,645 27,261 28,645 Total costs of activities in furtherance of the charity’s objects 29,519 3,287 32,806 31,844

Funds: Total resources expended 7,10 29,519 3,287 32,806 31,844 Restricted income funds 18 15,277 16,457 15,277 16,457 Unrestricted income funds : Net incoming/(outgoing) resources before Unrestricted income funds excluding pensions asset/liability 18 32,579 30,955 32,626 30,955 other recognised gains and losses 467 (1,180) (713) (922) Pension reserve 18 (20,642) (18,767) (20,642) (18,767) Total unrestricted funds 11,937 12,188 11,984 12,188 Other recognised gains/losses Actuarial (losses)/gains on defined benefit pension schemes 9 (718) - (718) 1,144 Total funds 18 27,214 28,645 27,261 28,645

Net movement in funds (251) (1,180) (1,431) 222 The accompanying notes form an intergral part of this consolidated and charity balance sheet.

Reconciliation of funds The governors and directors of the bfi approved these financial statements on Total funds brought forward as previously reported 28,574 16,457 45,031 45,027 Prior year adjustment: FRS17 21 (16,386) - (16,386) (16,604) Total funds brought forward as restated 12,188 16,457 28,645 28,423

Total funds carried forward 18 11,937 15,277 27,214 28,645 Governor Director

All gains and losses recognised in the year are included in this Statement of Financial Activities. The accompanying notes form an integral part of this Statement of Financial Activities.

44 The bfi annual report 2004-2005 The bfi annual report 2004-2005 45 CONSOLIDATED CASH FLOW STATEMENT Year ended 31 March 2005

2005 2004 Notes £’000 £’000 Financial Review Net cash inflow from operating activities 2 147 2,703 Return on investments and servicing of finance 3 154 100 Capital expenditure and financial investment 3 (373) (563) Funding (Decrease)/increase in cash in the year (72) 2,240 In modernising the bfi, the latest Statement of Recommended Practice (SORP) 2005 was adopted as The accompanying notes form an intergral part of this consolidated cash flow statement. best practice for the presentation and interpretation of the accounts which also, for the first time this year, and in step with other similar organisations, properly incorporated FRS 17 ‘Accounting for Pensions’. This had the impact of reducing brought forward reserves by £16.4m from £45.0m to £28.6m as disclosed in last year’s accounts. The pension charge in the year under FRS17 amounted to £2.6m (2004: £0.2m credit). The bfi has agreed a sustainable level of contributions with the London Pension Fund Author- ity over the next three years and is in the process of reviewing its future pension arrangements. During the year, the bfi concluded its Strategic Review and commenced a restructuring of the organisation, starting with the appointment of a new Executive Team. In line with the plan, essential work began on the Archive, the development of the National Film Theatre and initiatives designed to increase impact across the nations and regions. Although underlying expenditure decreased in total, this was due to the conclusion of the Heritage Lottery Fund capital project at the Archive. Investment in core activities was maintained at a similar level to 2003/4. Following the delivery of the new Forward Vision and outline financial scoping, the UK Film Council agreed an increase in funding. A good performance across most activities compensated for a challenging year for the bfi London IMAX Cinema. Our ability to deliver the first year of this long term plans was compromised by the unexpected discovery of complexities surrounding the bfi’s status and its relationship to the UKFC and Government. This put in question plans to raise a mortgage to facilitate immediate investment in priority areas. Whilst our forward strategic direction remains robust, the speed of change was necessarily reduced and significant resource needed to be diverted to seek a solution whilst evolving the plan to meet different financial circumstances. Nevertheless, going forward the strategy remains to achieve economies, re-focus existing funds and build new funds for investment in the areas prioritised in the Forward Vision.

46 The bfi annual report 2004-2005 The bfi annual report 2004-2005 47 Review of principal funding sources Reserves Policy Income generation The bfi funds both current and long-term developments from grants and donations received, and from Total income improved to £32.1m (2004: £30.9m). Grant-in-Aid income from the UK Film Council, at income generated by its activities. The Governors were successful in achieving their objective of £16m, was £1.5m higher than the 2004 grant after three years at £14.5m. Income from charitable holding unrestricted cash balances at £5.0m (2004: £5.1m) - equivalent to more than two months activities remained steady at £12.1m but donated services increased to £1.2.m from £0.9m (primarily of recurrent expenditure on unrestricted activities. The bfi has also increased its free reserves (net relating to The Times bfi London Film Festival). Other grants and lottery awards received in the year unrestricted current assets, see Note 18) to £3.1m (2004: £0.7m) and we are looking to improve increased to £2.6m from £1.6m, the difference largely being attributable to restructuring funding from future levels of free reserves. The Governors are committed to maintaining an adequate level of the Department of Culture, Media & Sport of £0.8m (2004: £0.2m) and fund raising for the develop- free reserves to meet any unforeseen expenditure or fall in income, and this is incorporated into the ment of the bfi Southbank/ National Film Centre. In 2003/04 a £1.3m grant was received from the budgets going forward. Heritage Lottery Fund which essentially concluded the restoration project at the Archive and the At 31 March 2005 the bfi had total consolidated reserves of £27.2m (2004 £28.6m) after the impact of matching income (and expenditure) are not repeated in 2004/05. adopting FRS 17 Accounting for Pensions, which reduced brought forward reserves by £16.4m from Fund raising £45.0m to £28.6m. Fund-raising costs of £0.4m (2004: £0.3m) represent the cost of running the bfi Sponsorship and Restricted funds of £15.2m (2004: £16.5m) represents £15.7m (2004: £16.1m) invested in the bfi’s Development Division in order to raise funds for the bfi. The Division was restructured in the year with restricted fixed assets. The balance of £0.4m of liabilities (2004: £0.4m of assets) is due to £0.7m of key appointments strengthening the team which is primarily aimed at securing grants and donations restructuring costs committed to in the year but paid in 2005/6 from agreed matching grant funding to support specific projects and activities. This has proved particularly successful in raising funds for from the UK Film Council, offset by net unspent income of £0.3m (2004: £0.4m) from donors who the redevelopment of the bfi on the Southbank during 2005/6. have set specific conditions for Investment in activities During the year the bfi concluded its Strategic Review and commenced the restructuring of the bfi with a new Executive team and operating structure. Restructuring costs including redundancies amounted to £1.7m and these are identified separately on the Statement of Financial Activities. In modernising the Changes in Fixed Assets bfi we have also adopted the latest Statement of Recommended Practice (SORP) 2005 in our accounts plus FRS 17 “Accounting for Pensions” to improve the quality of information provided in our accounts. The movement in tangible fixed assets is disclosed in Note 11. Although underlying expenditure has decreased in total, this is due to the conclusion of the Heritage Lottery Fund project at the Archive, and we were able to maintain investment in our activities at a similar level to 2003/04. More positively we have achieved growth in income through the continued support of the UK Film Council and Department of Culture, Media and Sport, whilst maintaining total income from activities. Looking forward we are continuing to maximise our impact on film culture, heritage and education across the UK through greater management focus, partnerships and ongoing improvements in efficiencies. Because of the nature of its funding the bfi does not have large amounts of disposable monies. Instead, financial investment is focussed on its property asset base and investing in people and activities to achieve its charitable objectives. The bfi aims to maximise the interest income from its cash balances and thereby yield maximum benefit from our grants and donations. Resources expended and services Total expenditure was £33.5m (2004: £30.7m) after pension charges under FRS17 of £2.6m (2004: £0.2m credit) and restructuring costs of £1.7m (2004: £0.4m). Expenditure excluding these exceptional items was £29.2m (2004: £30.6m) with the reduction largely due to the conclusion in the prior year of the Heritage Lottery Fund project at the Archive. Expenditure before fundraising and publicity costs of £0.4m (2004: £0.3m) was £28.8m (2004: £30.3m).

48 The bfi annual report 2004-2005 The bfi annual report 2004-2005 49 Review of principal funding sources (continued)

Solicitors Net outgoing resources Kirkpatrick & Lockhart Nicholson Graham LLP Net resources expended for the year amounted to £1.4m (2004: surplus £0.2m). This is after pension 110 Cannon Street, London EC4N 6AR charges under FRS17 of £2.6m (2004: £0.2m credit) and restructuring costs of £1.7m (2004: £0.4m). The underlying operating result before these items was a surplus of £2.9m (2004: £0.3m) and reflects Farrer & Co. operational efficiencies achieved during the year. 66, Lincoln’s Inn Fields, London WC2A 3LH

Distribution and Exhibition Bankers Income for the year decreased to £7.1m (2004: £7.4m) due to less popular releases of DMR format Lloyds TSB Bank, 32 Oxford Street, London, W1A 2LD films available to the IMAX cinema (films such as Matrix were popular in 2004). This masked an Barclays Media Banking Centre, 27 Soho Square, London W1D 3QR underlying growth in other areas. Expenditure was £12.1m (2004: £12.5m), due to net cost savings. Property advisers Film and TV Heritage Hutchinson Morrison Childs, 10 Saville Row, London W1X 1AF Income for the year increased to £1.4m (2004: £1.3m) as a result of improved book and DVD sales. Expenditure in this area was down to £7.7m (2004: £9.1m) due to costs in the prior year associated Internal auditors with the end of the Heritage Lottery Fund project at the Archive. AHL Limited, Chartwell House, 292-294 Hale Lane, Edgware, Middlesex, HA8 8NP

Lifelong Learning, Research and Debate Auditors Income for the year increased to £3.6m (2004: £3.4m) as a result of improved book and DVD sales. Deloitte & Touche LLP, Chartered Accountants, Hill House, 1 Little New Street, Expenditure in this area increased to £8.8m (2004: £8.7m), due to the increased costs associated London EC4A 3TR with higher impact. Registered office Approved by the Board of Governors on 18 January 2006 21 Stephen Street, London W1T 1LN www.bfi.org.uk

50 The bfi annual report 2004-2005 The bfi annual report 2004-2005 51 Independent auditors’ report to the Governors Independent auditors’ report to the Governors of the British Film Institute of the British Film Institute (continued)

We have audited the financial statements of the British Film Institute for the year ended 31 March Basis of opinion 2005, which comprise the statement of financial activities, the balance sheets, the cash flow statement We conducted our audit in accordance with United Kingdom auditing standards issued by the Auditing and the related notes 1 to 21, which have been prepared under the accounting policies set out therein. Practices Board. An audit includes examination, on a test basis, of evidence relevant to the amounts and disclosures in the financial statements. It also includes an assessment of the significant estimates This report is made solely to the charity’s Governors, who are also the trustees of the charity, as a and judgements made by the directors in the preparation of the financial statements, and of whether body, in accordance with Regulation 7 of The Charities (Accounts and Reports) Regulations 2005. the accounting policies are appropriate to the charity’s circumstances, consistently applied and Our audit work has been undertaken so that we might state to the charity’s Governors those matters adequately disclosed. we are required to state to them in an auditors’ report and for no other purpose. To the fullest extent We planned and performed our audit so as to obtain all the information and explanations which we permitted by law, we do not accept or assume responsibility to anyone other than the charity and the considered necessary in order to provide us with sufficient evidence to give reasonable assurance charity’s Governors as a body, for our audit work, for this report, or for the opinions that we have formed. that the financial statements are free from material misstatement, whether caused by fraud or other irregularity or error. In forming our opinion, we also evaluated the overall adequacy of the presentation Respective responsibilities of governors and auditors of information in the financial statements. As described in the statement of Governors’ responsibilities, you are responsible as Governors for the preparation of the financial statements, which you are required to prepare in accordance with Opinion applicable United Kingdom law and accounting standards. It is our responsibility to form an independent In our opinion, the financial statements give a true and fair view of the state of the Group’s and charity’s opinion, based on our audit, on those statements and to report our opinion to you. We have been state of affairs as at 31 March 2005 and of its incoming resources and application of resources in appointed as auditors under s43 Charities Act 1993 and report in accordance with regulations made the year then ended and have been properly prepared in accordance with the Charities Act 1993, under s44 of that Act. Regulation 3 of the Charities (Accounts and Reports) Regulations 2005. We report to you our opinion as to whether the financial statements give a true and fair view and are properly prepared in accordance with the Charities Act 1993 and Regulation 3 of the Charities (Accounts and Reports) Regulations 2005 and trust deed. We read the other information as described in the contents page and consider the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the Deloitte & Touche LLP financial statements. Chartered Accountants and Registered Auditors London Resources expended and services Total expenditure was £33.5m (2004: £30.7m) after pension charges under FRS17 of £2.6m January 2006 (2004: £0.2m credit) and restructuring costs of £1.7m (2004: £0.4m). Expenditure excluding these exceptional items was £29.2m (2004: £30.6m) with the reduction largely due to the conclusion in the prior year of the Heritage Lottery Fund project at the Archive. Expenditure before fundraising and publicity costs of £0.4m (2004: £0.3m) was £28.8m (2004: £30.3m).

52 The bfi annual report 2004-2005 The bfi annual report 2004-2005 53

Appendices

54 The bfi annual report 2004-2005 The bfi annual report 2004-2005 55 The following titles were screened as part of Money for a Change The (1968) The Death of Mikel (1983) Dir. Imanol Uribe Shooting of Wild Strawberries (1957) Reinhardt Lights of Variety (1950) various seasons and retrospectives at the bfi Dir. James Ormerod The Estate of Basterretxe (1928) Dir. Mauro Azcona Dir. One, Two, Three (1961) Dir Love in the City (1953) National Film Theatre, distributed theatrically, (1956) Dir. Euzkadi été 1982 (1983) Dir. Otar Iosselani The Sons of Ingmar (1919) (1931) Dir. William Wellman Il Miracolo (ep of L’Amore) (1949) Dir. Roberto released on video or DVD, or published The Punch and Judy Man (1962) In a Country of Basques (1930) Dir. Jean Faugeres Visit to Selma Lagerlöf’s (1926) Ragtime (1981) Dir. Milos Forman Rosselini Dir. Jeremy Summers A Killing in February (2001) Wild Strawberries (1957) Dir. Ingmar Bergman The Roaring Twenties (1939) Dir. Raoul Walsh (1957) Roman Polanski season The Romantic Young Lady (1955) Dir. Eterio Ortega Santillana The Strawberry Blonde (1941) Dir Raoul Walsh Paisà [segment] Dir. Roberto Rosselini Bitter Moon (1992) Dir. Harold Clayton Pelotari (1964) Dir. Néstor Basterretxea Michael Grigsby season White Heat (1949) Dir. Raoul Walsh (1954) Chinatown (1974) The Tamarind Seed (1974) Dir. Blake Edwards Running Out of Time (1994) Dir. Imanol Uribe Coal Face (1935) Dir. Alberto Calvcanti Yankee Doodle Dandy (1942) Dir. Michael Curtiz Tales of Mystery and Imagination (1968) Cul-de-Sac (1966) Victim (1961) Dir. Basil Dearden The Segovia Breakout (1981) Dir. Imanol Uribe David (1951) Dir. Paul Dickson I Vitelloni (1953) Dance of the Vampires (1967) Woman in a Dressing Gown (1957) Tercero B (2002) Dir. Jose Maria Goenaga Dawn Guard (1941) Dir Adam and Roy Boulting Graham Greene season The White Sheik (1952) Death and the Maiden (1995) Dir. J Lee Thompson Terminal (2002) Dir. Aitzol Aramaio A Diary for Timothy (1946) Dir. Humphrey Jennings Brighton Rock (1947) Dir. John Boulting The Fat and the Lean (1961) The World Ten Times Over (1963) Dir. Wolf Rilla Topeka (2002) Dir. Asier Altuna Drifters (1929) Dir. John Grierson A Case for the Defence (1976) Dir. Peter Hammond Arab cinema season Frantic (1988) (1991) Dir. Julio Medem Enginemen (1959) Dir. Mike Grigsby The Destructors (1975) Dir. Michael Apted Bab el-Oued City (1994) Dir. Merzak Allouache Knife in the Water (1962) Gregory Markopoulos season Yoyes (2000) Dir. Helena Taberna I Was a Soldier (1970) Dir. Mike Grigsby Ministry of Fear (1944) Dir. Fritz Lang Canticle of the Stones (1990) Dir. Michael Khleifi The Lamp (1959) Bliss (1967) I Was a Soldier (1970) Dir. Krzysztof Kieslowski Orient Express (1933) Dir. Paul Martin Chronicle of a Disappearance (1996) Let’s Break Up the Ball (1957) The Illiac Passion (1967) 40 years of BBC 2 season A Life Apart (1973) Dir. Mike Grigsby The Overnight Bag (1976) Dir. Peter Hammond Dir. Elia Sulemian Macbeth (1971) Ming Green (1966) Anthology Drama on 2 Dir. Various Listen to Britain (1942) Dir. Humphrey Jennings Shadowing The Third Man (2004) A Citizen, an Inspector and a Thief (2001) Mammals (1962) Saint Actaeon (1971) Arts on 2 Dir. Various Living on the Edge (1987) Dir. Mike Grigsby Dir. Frederick Baker Dir. Daoud Abdel Sayed Murder (1957) Galaxie (1966) Jazz on 2 Dir. Various Lockerbie: A Night Remembered (1998) The Third Man (1949) Dir. Carol Reed Divine Intervention (2002) Dir. Elia Sulemian The Ninth Gate (1999) Gammelion (1968) and Dud on 2 Dir. Various Dir. Mike Grigsby This Gun For Hire (1942) Dir. Frank Tuttle The Extras (1993) Dir. Nabil Maleh The Pianist (2002) Sorrows (1969) (1954) Dir. Night Mail (1936) Dir. Harry Watt and Basil Wright Nightfall (2000) Dir. Mohamed Soueid Pirates (1986) Swain (1950) Theatre 625 Dir. Various No Tumbled House (1955) Dir. Various Gangster Films before Scarface season The Olive Harvest (2003) Dir. Hann Elias Polanski on TV (1967-2000) Twice a Man (1963) The Score Dir. Mike Grigsby The Musketeers of Pig Alley (1912) Dir. D W Griffith Rachida (2002) Dir. Yamina Bachir-Chouikh Repulsion (1965) Diana Dors season The Silent War (1990) Dir. Various The Penalty (1920) Dir. Wallace Worsley Rana’s Wedding (2000) Dir. Hany Abu-Assad Rosemary’s Baby (1968) RADA: A Centenary Celebration Diamond City (1949) Dir. David MacDonald Time of Our Lives (1994) Dir. Mike Grigsby Regeneration (1915) Dir. Raoul Walsh Refuge (1997) Dir. Raymond Boutros Teethful Smile (1957) All or Nothing (2002) Dir. Mike Leigh Diana Dors on TV (1964-1974) Dir. Various Tomorrow’s Saturday (1962) Dir. Mike Grigsby Underworld (1927) Dir. Josef von Sternberg Sleepless Nights (2003) Dir. Hani Khalifa The Tenant (1976) The Dresser (1983) Dir. Peter Yates A Little Business (1964) Yarmouth Trawlers (1896) Dir. Birt Acres While the City Sleeps (1928) Dir. Jack Conway So Near Yet So Far (2001) Dir. Eliane Raheb Tess (1979) Masks and Faces (1917) Dir. Fred Paul Passport to Shame (1958) Dir. Alvin Rakoff Halfaouine – Child of the Terraces (1990) Two Men and a Wardrobe (1958) Forget-Me-Not Lane (1975) Dir. Alan Bridges Steaming (1985) Dir. Joseph Losey Hiroshi Teshigahara season Dir. Férid Boughedir What? (1972) Pygmalion (1938) Dir. Anthony Asquith Value for Money (1955) Dir. Ken Annakin A Selective History of Lesbian Cinema season Antoni Gaudi (1984) Terra Incognita (2002) Dir. Ghassan Salhab When Angels Fall (1959) Stage Fright (1950) Dir. Yield to the Night (1956) Dir. J Lee Thompson All Over Me (1995) Dir. Alex Sichel Face of Another (1966) West Beirut (1998) Dir. Ziad Doueiri Truly, Madly, Deeply (1990) Dir. Anthony Minghella At First Sight (1983) Dir. Diane Kurys Pitfall (1961) Women’s Wiles (1999) Dir. Farida Benlyazid French Documentary Cinema season The Golden Age of French Cinema season Born in Flames (1983) Dir. Lizzie Borden Rikyu (1989) Afrique 50 (1951) Dir. René Vautier Pedro Almodóvar season À nous la liberté (1932) Dir. René Clair Bound (1996) Dir. Andy and Larry Wachowski The Ruined Map (1968) Movie Magic: Children’s cinema season L’Algérie en flammes (1958) Dir. René Vautier (1999) À propos de Nice (1930) Dir. Jean Vigo A Boy Named Sue (2000) Dir. Julie Wyman Sculptures by Sofu – Vita (1962) Boundin’ (+ Q&A) (2003) Dir. Bud Luckey Annales de la guerre (1917/8) Dir. Various Dark Habits (1983) L’Atalante (1934) Dir. Jean Vigo Boys Don’t Cry (1999) Dir. Kimberly Peirce Summer Soldiers (1972) Five Children and It (2004) Dir. John Stephenson Cinétracts (1968) Dir. Various The Flower of My Secret (1995) Boudu Saved from Drowning (1932) By Hook or By Crook (2001) Dir. Silas Howard Woman of the Dunes (1964) The Magician’s Heart (1973) Dir. Daphne Jones The Enemy Below: 1904-1912 (1986) High Heels (1991) Dir. Jean Renoir Chutney Popcorn (1999) Dir. Nisha Ganatra Shark Tale (2004) Dir. Noël Burch Kika (1993) César (1936) Dir Dinner Party (1996) Dir. Lisa Cholodenko The Golden Age of French Cinema (part 2) Dirs. Eric ‘Bibo’ Bergson & Vicky Jenson Et la vie (1991) Dir. Denis Gheerbrant Labyrinth of Passion (1982) The Cheat (1936) Dir Sacha Guitry Dyketactics (1974) Dir. Barbara Hammer season Someone Like Hodder (2003) Dir. Henrik Ruben Genz Farrebique (1945) Dir. Georges Rouquier Law of Desire (1987) Fanny (1932) Dir. Marc Allégret Everything Will Be Fine (1997) Battement de coeur (1939) Dir. Henri Decoin (1995) Dir. John Lasseter La France est un Empire (1939) Dir. Various Live Flesh (1997) Le Grand jeu (1934) Dir. Jacques Feyder Dir. Angelina Maccarone Le Ciel est à vous (1942) Dir. Jean Grémillon Grands soirs et petits matins (1968-78) Matador (1986) L’Homme de nulle part (1936) Dir. Pierre Chenal Fire (1996) Dir. Deepa Mehta Le Corbeau (1943) Dir. Henri-Georges Clouzot Edgar G Ulmer season Dir. William Klein Pepi, Luci, Bom... (1980) Justin de Marseille (1934) Dir Maurice Tourneur Girl Power (1993) Dir. Sadie Benning Douce (1943) Dir. Claude Autant Lara American Matchmaker (1940) L’Histoire du soldat inconnu (1932) Dir. Henri Storck Talk to Her (2002) La Kermesse héroique (1935) Dir. Jacques Feyder Go Fish (1994) Dir. Rose Troche Les Enfants du paradis (1943) Dir. Marcel Carné Another to Conquer (1940) Histoires d’A. (1973) Dir. Marielle Issartel Tie Me Up! Tie Me Down! (1990) Marius (1931) Dir. Alexander Korda Greetings from Africa (1994) Dir. Cheryl Dunye Goupi mains rouges (1943) Dir. Jacques Becker The Black Cat (1934) Le Joli mai (1963) Dir. What Have I Done to Deserve This? (1984) Poil de carotte (1932) Dir. Julien Duvivier Home Movie (1973) Dir. Jan Oxenberg Le Jour se lève (1939) Dir Marcel Carné Bluebeard (1944) Les Maîtres fous (1955) Dir. Jean Rouch Women on the Verge of a Nervous Breakdown Taris (1931) Dir. Jean Vigo The Incredibly True Adventure of Two Girls in Love Les Misérables (1934) Dir. Raymond Bernard Cloud in the Sky (1939) Marseille de père en fils (1989) (1988) Zéro de conduite (1933) Dir. Jean Vigo (1995) Dir. Maria Maggenti Pépé le Moko (1936) Dir. Julien Duvivier Daughter of Dr Jekyll (1957) Dir. Jean-Louis Comolli The Killing of Sister George (1968) Pontcarral, colonel d’empire (1942) Detour (1945) Nogent, Eldorado du dimanche (1929) Nuri Bilge Ceylan season The Marx Brothers season Dir. Dir. Green Fields (1937) Dir. Marcel Carné Clouds in May (2000) Animal Crackers (1930) Dir. Victor Heerman Linger (1995) Dir. Billie Eltringham La Règle du jeu (1939) Dir. Jean Renoir The Light Ahead (1939) Nous, sans papiers de France (1997) Cocoon (1995) At the Circus (1939) Dir. Edward Buzzell Manhood (1999) Dir. Mia Engberg Le Roman de Werther (1938) Dir. Max Ophuls (1930) Dir. Nicholas Philibert The Small Town (1998) The Big Store (1941) Dir. Charles Reisner Persona (1966) Dir. Ingmar Bergman Pirates of Capri (1948) 1900 (1945) Dir. Nicole Vedrès Uzak (2002) (1929) Dir. Robert Florey Scrubbers (1982) Dir. Mai Zitterling Victor Sjöström season (part 2) The Man from Planet X (1951) La Puissance militaire de la France (1917) A Day at the Races (1937) Dir. Sam Wood She Must Be Seeing Things (1987) Dir. Sheila [incomplete] (1925) Ruthless (1948) Dir. Various Marcel Ophuls season Duck Soup (1933) Dir. Leo McCarey McLaughlin [fragment] (1928) (1945) Mémoires d’immigrés, l’heritage maghré (1997) Hôtel Terminus: Klaus Barbie, His Life and Times Go West (1940) Dir. Edward Buzzell Show Me Love (1998) Dir. Lukas Moodysson Fire on Board (1923) (1946) Dir. Yamina Benguigui (1988) Horse Feathers (1932) Dir. Norman Z McLeod Virgin Machine (1988) Dir. Monika Treut He Who Gets Slapped (1924) The Wife of Monte Cristo (1946) Réponse de femmes (1975) Dir. Agnès Varda The Memory of Justice (1976) Love Happy (1949) Dir. David Miller You 2 (2002) Dir. Pascale Simons Love’s Crucible (1922) La Rosière de Pessac (1986/1979) November Days: Voices and Choices (1991) Monkey Business (1931) Dir. Norman Z McLeod Zero Budget (1996) Dir. Emma Hindley The Markurells of Wadköping (1931) More than Ballet: Diaghilev, Balanchine & Dir. Jean Eustache A Sense of Loss (1972) A Night at the Opera (1935) Dir. Sam Wood (1924) Dolin season The Sorrow and the Pity (1970) Dir. Max Ophuls The Sorrow and the Pity (1970) (1946) Dir. James Cagney season (1921) Anton Dolin: Omnibus (1982) Les Statues meurent aussi (1953) Dir. Chris The Troubles We’ve Seen: A History of Journalism Room Service (1938) Dir. William A Seiter 13 Rue Madeleine (1947) Dir. Henry Hathaway The Scarlet Letter (1927) Balanchine and Stravinsky: Apollon Musagete Marker/ in Wartime (1st & 2nd Journeys) (1994) (1938) Dir. Michael Curtiz Thomas Graal’s Best Film (1917) Dir. Mauritz Stiller (1967) La Vie est à nous (1936) Dir. Jean Renoir Victor Sjöström season Blonde Crazy (1931) Dir. Roy del Ruth Under the Red Robe (1937) Dark Red Roses (1929) Dir. Sinclair Hill Voyage au Congo (1927) Dir. Marc Allégret Basque Cinema season A Dangerous Pledge (1920) Ceiling Zero (1935) Dir. Howard Hawks When Love Kills [fragment] (1913) Diaghilev: The Years Abroad (Omnibus) (1968) La Zone (1928) Dir. Georges Lacombe 27 Hours (1986) Dir. Montxo Armendáriz The Gardener (1912) The Crowd Roars (1932) Dir. Howard Hawks The Wind (1928) Diaghilev: The Years in Exile (Omnibus) (1968) 7:35 in the Morning (2003) Dir. Nacho Vigalondo The Girl from the Marsh Croft (1917) (1930) Dir. Archie Mayo Focus on Dolin (1964) Sylvia Syms season Ama Lur (1968) Dir. Néstor Basterretxea His Lord’s Will (1919) Each Dawn I Die (1939) Dir. William Keighley Federico Fellini season (part 1) Nijinsky (1980) Dir. Herbert Ross Bat Out of Hell (1966) Dir. Alan Bromly Ander and Yul (1989) Dir. Ana Diez (1913) Footlight Parade (1933) Dir. Lloyd Bacon 81/2 (1963) The Sleeping Ballerina (1964) Deep Down (2002) Dir. Christin Cockerton Around the World with Orson Welles: The Basque Karin, Daughter of Ingmar (1920) ‘G’ Men (1935) Dir. William Keighley (1955) Violette et Mister B (2001) Dir. Dominique Delouche Expresso Bongo (1959) Dir. Val Guest Countries (1955) Dir. Orson Welles The Kiss of Death (1916) Kiss Tomorrow Goodbye (1950) Dir. Gordon Boccaccio ‘70 (1962) The House in Athens (1956) Dir. Alan Bromly Basque Ball: The Skin Against the Stone (2003) Dir. (1917) Douglas The Clowns (1970) (1958) Dir. J Lee Thompson Julio Medem The Monastery of Sendomir (1920) Lady Killer (1933) Dir. Roy Del Ruth Fellini: A Director’s Notebook (1969) Mavis and the Mermaid (2000) Dir. Juliet McKoen Belarra (2002) Dir. Koldo Alamandoz (1918) Love Me or Leave Me (1955) Dir. Charles Vidor (1969) 56 The bfi annualannual reportreport 2004-20052004-2005 The Burgos Trial (1979) Dir. Imanol Uribe Sea Vultures (1916) A Midsummer Night’s Dream (1935) Dir. Max (1965) The bfi annual report 2004-2005 57 The Good Old Days: Variety on TV GoodFellas (1990) Dir. Martin Scorsese Anna Neagle season Tenebrae (1982) Dir. Dario Argento A Beast with Two Backs (1968) Dir. Lionel Harris Un cow-boy amourex au pays des mangeurs de Blackpool Night Out (1965) The Life of O-Haru (1952) Dir. Kenji Mizoguchi Forever and a Day (1943) Dir. René Clair Monogatari (1953) Dir. Kenji Mizoguchi Between Two Rivers (1960) giraffes (2003) Dir. Facere The Blackpool Show (1966) Le Mépris (1963) Dir. Jean-Luc Godard Goodnight Vienna (1932) Dir. Herbert Wilcox The Unknown (1927) Dir. Tod Browning Lay Down Your Arms (1970) Waiting for Ronald (2003) Dir. Ellen Gerstein George Formby Centenary (1957-60) A One and a Two (2000) Dir. Irene (1940) Dir. Herbert Wilcox Dir. Christopher Morahan Whole – A Trinity of Being (2004) Dir. Shelly Barry The Good Old Days (1959) Our Hospitality (1923) Dir. (1954) Dir. Herbert Wilcox season Lipstick On Your Collar (Ep 1) (1993) Wolf Boy (2002) Dir. Rick Randall The Royal Variety Performance (1961) Le Plaisir (1951) Dir. Max Ophüls Nell Gwyn (1934) Dir. Herbert Wilcox Alice Adams (1935) Dir. Renny Rye A World Without Bodies (2004) Dir. Alrick Riley Sunday Night at the London Palladium (1960) Rope (1948) Dir. Alfred Hitchcock Nurse (1939) Dir. Herbert Wilcox Annie Oakley (1935) Only Make Believe (1973) Dir. Robert Knights Yam (2004) Dir. Angel Garden Tales of Mystery and Val Parnell’s Spectaculars The Round-Up (1965) Dir. Miklós Jancsó Odette (1950) Dir. Herbert Wilcox George Stevens: A Filmmaker’s Journey (+ Dir talk) Opinions: Britain 1993: What’s Wrong? What’s You, Me and Everyone (2003) Dir. Various (Various) Russian Ark (2002) Dir. Aleksandr Sokurov (1946) Dir. Herbert Wilcox (1984) Dir. George Stevens Jr Right? What’s Next? (1993) Sunrise – A Story of Two Humans (1927) Dir. F (1948) Dir. Herbert Wilcox A Place in the Sun (1951) Paper Roses (1971) Dir. Barry Davies Movie Magic Season George Formby season W Murnau (1941) Dir. Herbert Wilcox Shane (1953) A Tragedy of Two Ambitions (1973) Miracle on 34th Street (1947) Dir. George Seaton Feather Your Nest (1937) Dir. William Beaudine Through the Olive Trees (1994) Dir. Abbas The (1937) Dir. Herbert Wilcox Woman of the Year (1941) Dir. Michael Tuchner Scrooge (1951) Dir. Brian Desmond Hurst He Snoops To Conquer (1944) Dir. Marcel Varnel Kiarostami (1937) Dir. Herbert Wilcox Without Walls Special: An Interview with Dennis Tim Burton’s The Nightmare Before Christmas Let George Do It (1940) Dir. Marcel Varnel Touch of Evil (1958) Dir. Orson Welles Lindsay Anderson season Potter (1994) (1993) Dir. Henry Sellick Trouble Brewing (1939) Dir. Anthony Kimmins Voyage to (1953) Dir. Roberto Rosselini George Cukor season (part 1) Britannia Hospital (1982) Dir. Malcolm McDowell The Wizard of Oz (1939) Dir. Victor Fleming A Bill of Divorcement (1932) Every Day Except Christmas (1957) 6th Disability Film Festival Federico Fellini season (part 2) Kevin Brownlow season Camille (1936) If.... (1968) A Fistful of Heart (2001) Dir. Bernie J Clifford The Wild Bunch: American Cinema 1967-1980 Amarcord (1973) Abel Gance – The Charm of Dynamite (1968) David Copperfield (1935) In Celebration (1974) Alcohol Abuse (2003) Dir. Maria Van Ravenstein American Graffiti (1972) Dir. George Lucas (1983) Cecil B De Mille: American Epic (2003) Dinner at Eight (1933) O Lucky Man! (1973) Alien Extraction (2003) Dir. Tim Sedgwick Bad Company (1972) Dir. Robert Benton (1980) DW Griffith - Father of Film (1993) A Double Life (1944) The Singing Lesson (1967) The Aliens Who Lived in the Sheds (1997) Badlands (1973) Dir. Terrence Malick La Dolce vita (1960) The Four Horsemen of the Apocalypse (1921) Gaslight (1944) This Sporting Life (1963) Dir. Neil Shaban Bob & Carol & Ted & Alice (1969) Fellini Interviewed (1966) Dir. Rex Ingram Girls About Town (1931) Thursday’s Children (1954) All Aboard (2004) Dir. Justin Edgar Dir. Paul Mazursky Fellini’s Casanova (1976) Hollywood - Hazard of the Game (1980) Grumpy (1930) The Whales of August (1987) Amplify 1 (2003) Dir. Katherine Araniello Bonnie and Clyde (1967) Dir. Dir. Arthur Penn Fellini’s Roma (1972) Hollywood - Out West (1980) (1942) The White Bus (1967) Afterlife (2003) Dir. Alison Peebles David Holzman’s Diary (1967) Dir. Jim McBride (1985) It Happened Here (1964) Holiday (1938) The Artist (2001) Dir. Levent Beskardes Easy Rider (1969) Dir. (1987) The Last Tram (1962) Keeper of the Flame (1942) George Cukor season (part 2) Berocca (2004) Dir. Martin Taylor Fat City (1972) Dir. John Huston The Lost Ending of 81/2 (2003) Dir. Mario Sesti Winstanley (1975) Little Women (1933) (1953) Big Black Duck (1997) Dir. Rick Randall Five Easy Pieces (1970) Dir. Bob Rafelson The Magic of Fellini (2002) Dir. Carmen Piccini (1933) Adam’s Rib (1949) Corps Defendents (2003) Dir. Philippe Barrière The French Connection (1971) Dir. William Friedkin The Mysterious Journey of F Fellini (2003) Wong Kar-Wai season The Philadelphia Story (1940) Bhowani Junction (1956) D-Tune Motif 1 (2004) The Godfather (1971) Dir. Francis Ford Coppola Dir. Maite Carpio As Tears Go By (1988) Rockabye (1932) The Blue Bird (1976) Dir. Kate Chinnick & Tony Nirta Hi, Mom! (1969) Dir. Brian De Palma (1979) Zero Degree (1999) Romeo and Juliet (1936) (1950) Desirability: Vera Cam (2002) The Hired Hand (1971) Dir. Peter Fonda La Tivù di Fellini (2003) Ed. Tatti Sanguinetti Chungking Express (1994) The Royal Family of Broadway (1931) (1962) Dir. Anne Pariso & Ally Scott The King of Marvin Gardens (1972) (1990) Days of Being Wild (1990) (1940) The Corn Is Green (1979) The Donkey and the Spell (2004) Dir. Carousel Dir. Bob Rafelson & Fellini (1987) Dir. Vincenzo Mollica Fallen Angels (1995) (1935) Cukor Interviewed (1974-1981) Digitate: The Story of Geordie Wirrel (2002) Klute (1971) Dir. Alan J Pakula Happy Together (1997) (1931) Edward, My Son (1949) Dirs. Various The Last Detail (1973) Dir. Hal Ashby Jim Jarmusch season In the Mood for Love (2000) Two-Faced Woman (1941) (1960) Every Time You Look At Me (2004) Dir. Alrick Riley The Last Movie (1971) Dir. Dennis Hopper Coffee and Cigarettes (2003) (1930) (1954) Handicap(2004) Dir. Lewis-Martin Soucy The Last Picture Show (1971) Dead Man (1995) RESFEST 2004: Worldwide innovations in What Price Hollywood? (1932) Justine (1969) (2003) Dir. Dir. Peter Bogdanovich Down By Law (1986) media Winged Victory (1944) (1957) I’m Not From Here (2003) Dir. Catherine MacKinnon The Long Goodbye (1972) Dir. Robert Altman Ghost Dog: Way of the Samurai (1999) By Design (graphics) Dir. Various A Woman’s Face (1941) Let’s Make Love (1960) In Cuba Disabled (2003) Dir. Victor Pineda Mean Streets (1973) Dir. Martin Scorsese Int. Trailer. Night. (2002) Cinema Electronica (video promos) Dir. Various The Women (1939) (1950) The Job (2002) Dir. David King Medium Cool (1968) Dir. Haskell Wexler Mystery Train (1989) The Corporation (2004) Zaza (1939) Love Among the Ruins (1975) Joy (1996) Dir. Philippe Thomas Nashville (1975) Dir. Robert Altman Night on Earth (1992) Dir. Jennifer Abbott & Mark Achbar (1952) Lester’s World (2003) Night of the Living Dead (1968) Permanent Vacation (1980) Jonathan Glazer Retrospective (various) TV 2004 The Model and the Marriage Broker (1951) Dir. Wesley Magoogan and Joe King Dir. George A Romero Stranger Than Paradise (1984) RESFEST Shorts Programmes (various) Akenfield (1974) Dir. Peter Hall My Fair Lady (1964) Let Me See a Dream And Then Let I Die (2004) The Parallax View (1973) Dir. Alan J Pakula Year of the Horse (1997) Sprout Dir. Thomas Campbell Hancock’s Half Century (various) (1952) Dir. Bim Ajadi Pat Garrett & Billy the Kid (1972) Super Furry Saturday (various) June Whitfield in Conversation (various) Rich and Famous (1981) Lion Mountain (2003) Dir. Ray Harrison Graham Dir. Sam Peckinpah Austrian Women Auteurs season Too Many VJs (various) Not Only But Always(2004) Dir. Terry Johnson A Star is Born (1954) Luna (2002) Dir. Dagmar Baumunk Shaft (1971) Dir. Gordon Parks Be My Star (2001) Dir. Valeska Grisebach Videos That Rock! (various) and June Whitfield (various) Travels with My Aunt (1972) Mark Deans: Human Cannon Ball (1998) Two-Lane Blacktop (1971) Dir. Monte Hellman Blue Moon (2002) Dir. Andrea Maria Dusl Warp Records/Films: Music Videos and More Up Close with Little Britain (various) (1957) Dir. Rick Randall Wanda (1970) Dir. Barbara Loden Carmen (1999) Dir. Anja Salomonowitz (various) Cloud Cuckoo Land (2003) Dir. Matt Dickenson The Wild Bunch (1968) Dir. Sam Peckinpah Egypt (1997) Dir. Kathrin Resetarits A History of the A History of the Horror Film (part 2) The Movie Has Everything (2002) Dir. Miles Howard A Woman Under the Influence (1974) Dir. John Flora (1997) Dir. Jessica Hausner Dilip Kumar season Audition (2000) Dir. Miike Takashi Black Sabbath (1963) Dir. Mario Bava Mullet (1998) Dir. Rick Randall Cassavetes Free Radicals (2003) Dir. Barbara Albert Andaz (1949) Dir. The Cabinet of Dr Caligari (1919) Dir. Robert Bride of Frankenstein (1935) Dir. James Whale Near Life Experience (2003) Dir. David Cangardel The Fruits of Thy Womb Dir. Barbara Albert Babul (1950) Dir. SU Sunny Wiene The Curse of Frankenstein (1957) Not the Usual Victim (1988) Dir. Sofya Gollan Robert Hamer season In the Mirror of Maya Deren (2001) Dir. Martina (1976) Dir. Cat People (1942) Dir. Jacques Tourneur Dir. Terence Fisher Oiseau (2000) Dir. Levent Beskardes Dead of Night (1945) Dirs. Alberto Cavalcanti, Rob- Kudlacek Deedar (1951) Dir. Nitin Bose The Company of Wolves (1984) Dir. Neil Jordan Dr Jekyll and Mr Hyde (1920) Dir. John S Robertson On Her Own Terms (2003) Dir. Wilbert WR Adams ert Hamer, Charles Crichton and Basil Dearden Inter-view (1999) Dir. Jessica Hausner Devdas (1955) Dir. A Conversation with Fritz Lang (1975) The Evil Dead (1981) Dir. Sam M Rami One Night Sit (2004) Dir. Diana Naftal & Carmelo Father Brown (1954) Lovely Rita (2001) Dir. Jessica Hausner Footpath (1953) Dir. Zia Sarhadi Cronos (1992) Dir. Guillermo del Toro The Fall of the House of Usher (1960) Gonzales George Bernard Shaw (1957) My Russia (2002) Dir Barbara Gräftner Ganga Jumna (1961) Dir. Nitin Bose Dark Water (2002) Dir. Hideo Nakata Dir. Roger Corman Opening Doors (2003) Dir. Ju Gosling The Green of the Year (1955) Northern Skirts (1995) Dir. Barbara Albert Jugnu (1947) Dir. Shaukat Hussein Rizvi Dracula (1931) Dir. Tod Browning Frankenstein [1910] (1910) Dir. J Searle Dawley The Other (2004) His Excellency (1951) Signs of Escape (2003) Dir. Nina Kusturica Madhumati (1958) Dir. Bimal Roy Dracula (1931) Dir. George Melford & Enrique Necronomicon (1933) Dir. Brian Yuzna Dirs. Sybil Ah-mane and Russell Hall It Always Rains on Sunday (1947) Step On It (2001) Dir. Sabine Derflinger The Mogul (1960) Dir K Asif Tovar Avalos Nosferatu (1922) Dir. FW Murnau The Playmate (1996) Dir. Philippe Thomas Kind Hearts and Coronets (1949) Strangers (1999) Dir. Kathrin Resetarits Shakti (1982) Dir The Exorcist (1973) Dir. William Friedkin Peeping Tom (1960) Dir. Michael Powell Pop Video: ‘I Like That’ (2004) Dir. Katherine The Long Memory (1952) Struggle (2003) Dir. Ruth Mader Eyes without a Face (1960) Dir. Georges Franju Shivers (1974) Dir. David Cronenburg Araniello A Month in the Country (1955) Sunspots (1998) Dir. Barbara Albert Valie Export season Flesh for Frankenstein (1974) Dir. Paul Morrissey A Tale of Two Sisters (2003) Dir. Kim Jee-Woon Proud to be Disabled (2004) Dir. Paul Green Pink String and Sealing Wax (1945) Twinni (2003) Dir. Ulrike Schweiger The Duality of Nature (1982) Friday the Thirteenth Part III (1982) Dir. Steve Tales from the Hood (1995) Dir. Rusty Cundieff Relics (2002) Dir. Sign Dance Collective Private Lives (extract) (1955) You’ll Never Understand This (2003) Dir. Anja Invisible Adversaries (1976) Miner Testsuo: The Iron Man (1988) Rush 4 (2003) Dir. Ray Harrison Graham The Scapegoat (1958) Salomonowitz Mann & Frau & Animal (1973) The Golem (1920) Dir. Paul Wegener Dir. Shinya Tsukamoto Size 9 (2003) Dir. Bernie J Clifford School for Scoundrels (1955) Menschenfrauen (1980) House of Wax (1953) Dir. Andre de Toth The Texas Chain Saw Massacre (1974) The Scary Lewis Yell-a-thon (2004) The Spider and the Fly (1949) Season of long-shot cinema A Perfect Pair (1987) Invasion of the Body Snatchers (1956) Dir. Tobe Hooper Dir. Dianne Wilkins To Paris With Love (1955) L’Avventura (1959) Dir. ... Remote ... Remote ... (1973) Dir. Don Siegel The Tingler (1959) Dir. William Castle Spasm (2003) Dir. Gill Price La Captive (2000) Dir. Chantal Akerman The Practice of Love (1984) M (1931) Dir. Fritz Lang Trouble Every Day (2002) Dir. Claire Denis That Summer of Purple (1999) Dir. Jerry McGill India Vu Par Season City of Hope (1991) Dir. John Sayles Seeing Space and Hearing Space (1974) Near Dark (1987) Dir. Kathyrn Bigelow That Would Be Nice (2002) Dir. Rick Randall Black Narcissus (1946) Dir. Michael Powell La Crime de M Lange (1935) Dir. Jean Renoir Syntagma (1983) Night of the Living Dead (1968) Dir. George Dennis Potter season Two Other Stories (2003) Elephant Boy (1937) Dir. Robert Flaherty Damnation (1988) Dir. Bela Tarr Romero Angels Are So Few (1970) Dir. Gareth Davies Dirs. Sybil Ah-mane and Russell Hall Gandhi (1982) Dir. Richard Attenborough Dear Diary58 (1994)The bfi Dir. annual Nanni reportMoretti 2004-2005 Possession (1981) Dir. Andrzej Zulawski Arena: Dennis Potter (2004) Dir. 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Laurie J Proud Nicole Kidman season The Devils (+ Dir in Conversation) (1971) I Vitelloni (Italy 1953) dir. Federico Fellini and Media Studies) The Tiger of Eschnapur (1958) Dir. Fritz Lang Copy Shop (2001) Dir. Virgil Widrich Birth (2004) Dir. Jonathan Glazer Dir. Ken Russell Eight and a Half (Italy 1963) dir. Federico Fellini French Cinema Book The Warrior (2001) Dir. Asif Kapadia Deadsy (1990) Dir. David Anderson Birthday Girl (2001) Dir. Jez Butterworth The Door in the Floor (2004) Dir. Tod Williams Amarcord (Italy 1973) dir. Federico Fellini British Film Editors Dog (2001) Dir. Suzie Templeton Cold Mountain (2003) Dir. Anthony Minghella Edgar G Ulmer: The Man Off-Screen (2004) (Tie-in with NFT Fellini season) Chaplin The Wild Bunch: American Cinema 1967-1980 Fast Film (2003) Dir. Virgil Widrich Dead Calm (1989) Dir. Philip Noyce Dir. Michael Palm Dietrich’s Ghosts (part two) Feeling My Way (1997) Dir. Jonathan Hodgson Dogville (2003) Dir. Lars von Trier Film Before Film (1986) Dir. Werner Kekes The Women (US 1939) dir. George Cukor Forms of Being American Gigolo (1980) Dir. The Flat (1968) Dir. Jan Svankmajer (1999) Dir. Goodbye Dragon Inn (2003) Dir. Tsai Ming-Liang (Tie-in with NFT Cukor season) Contemporary World TV Big Wednesday (1978) Dir. John Milius Forever and Forever (1998) Dir. Michaela Pavlotova The Hours (2002) Dir. Stephen Daldry Gone with the Wind (1939) Dir. Victor Fleming Rebel Without a Cause (US 1955) dir. Horizons West Blue Collar (1978) Dir. Paul Schrader The Hat (2001) Dir. Michele Cournoyer Moulin Rouge (2001) Dir. Baz Luhrman Hell Drivers (+ Billy Childish & the Buff Medways) (Tie-in with anniversary of James Dean’s death) Hollywood Abroad Bring Me the Head of Alfredo Garcia (1974) Dir. Hen His Wife (1991) Dir. Igor Kovalyov The Others (2001) Dir. Alejandro Amenábar (1957) Dir. Cy Endfield Contemporary Costume Film Sam Peckinpah How to Cope with Death (2003) Dir. Ignacio Ferrera The Portrait of a Lady (1996) Dir. House of Flying Daggers (2003) Dir. Zhang Yimou The Innocents (UK 1961) dir. Jack Clayton European Television Industries Citizen’s Band (Handle with Care) (1977) Dir. Hypnerotamahia (1992) Dir. Andrei Svislotsky To Die For (1995) Dir. Gus Van Sant Infernal Affairs 1& 2 (2002/3) Dir. Andrew Lau Dead of Night (UK 1945) dirs. Alberto Cavalcanti, Global Hollywood 2 Jonathan Demme Institute Benjamenta (1995) Dir. The Brothers Quay Into the Mirror (2003) Dir. Kim Sung-Ho Charles Crichton, Basil Dearden, Robert Hamer The Conversation (1974) Dir. Francis Ford Coppola Jumping Joan (1994) Dir. Petra Freeman New Films From Israel season Layer Cake (2004) Dir. Matthew Vaughn Web Resources Days of Heaven (1978) Dir. Terrence Malick Keepsake (2003) Dir. Tim Shore Atash (2004) Dir. Tawfik Abu Wael The Ladykillers (2004) Dirs. Joel and Ethan Coen Electric Edwardians: The Films of Mitchell & Kenyon The World in the Movies The Deer Hunter (1978) Dir. 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Andrew Douglas The Leopard (1963) dir. Luchino Visconti Animals (1996) The Flag Lieutenant (1926) Dir. Maurice Elvey Dir. Jacques Demy 2 (2004) Dir. Andrew Adamson Un Chien andalou and L’Âge d’or (1929 & 1930) Le Come-back de Baquet (1988) Scrooge (1935) For Me and My Gal (1942) Dir. Busby Berkeley Sideways (2004) Dir. Alexander Payne Silent Shakespeare (1899-1911) dir. Various Etre et avoir (2002) Invitation to the Dance (1956) Splendor in the Grass (1961) Dir. Elia Kazan British Artists’ Films - William Raban (1977-2002) Every Little Thing (1988) Movie Magic: Incredible Journeys 2 season It’s Always Fair Weather (1955) Someone Like Hodder (2003) dir. William Raban His Master’s Voice (1978) An Angel for May (2002) Dir. Harley Cokeliss Les Girls (1957) Dir. Jacques Demy Dir. Henrik Ruben Genz Mon Oncle (1958) dir. Jacques Tati Land of the Deaf (1992) The Freak (2003) Dirs. Cape Cornwall School & On the Town (1949) Stealing a Nation: A Special Report by John Pilger Jour de Fête (1949) dir. Jacques Tati Louvre City (1990) First Light Films The Pirate (1948) Dir. Vincente Minnelli (2004) Dir. John Pilger Les Vacances de M. Hulot (1953) dir. Jacques Tati Trilogy for a Lone Man (1987) Jargo (2003) Dir. Maria Solrun Sigurdardottir Singin’ in the Rain (1952) Super Size Me (2004) Dir. Morgan Spurlock The Threepenny Opera (1931) dir. G W Pabst Vas-y Lapébie! (1988) Magnifico (2003) Dir. Maryo J de los Reyes Summer Stock (1950) Dir. Charles Walters Tarnation (+ Dir. Q&A) (2004) Dir. Jonathan Under the Skin (1977) dir. Carine Adler Who Knows? (1999) Polleke (2003) Dir. Ineke Houtman Take Me Out to the Ball Game (1949) Caouette The Lost World of Mitchell & Kenyon (2004) BBC Seeking (2003) Dir. The Living Archive Milton Dir. Busby Berkeley The Terminal (2004) Dir. 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Klonaris/Thomadaki Diptych Tiresia Sky Blue World, The Tube Mice Come On Baby A Knock Out Toilet Training: Law and Order in the Bathroom Slavery (Animation Programme 1) Wound, The Underground Railway Coming Out At Work Is Hard To Do Last Full Show Tomboy Small Stories Yasmin Undertow Confusion The Leather Boys Touch Of Pink Soar (A Life’s Work) Yes Undo Coolie Gyal Let The Good Times Roll Transamazon: A Gender Queer Journey Soul Hunter, The (Strange Days) Yesterday Uniform Cowboys And Angels Liberation Trash South Of The Clouds Zenith (A Life’s Work) Uno culling occupants Liquid Lunch Tropical Malady Spies Zwerk (Drift Studies) Up Against Them All Cut Little Man Unexpected Blow: Relieve Splendid Float (screening with Cut) Vanity Fair The D Word Lonely 5 Unhung Heroes Spoonful Of Sugar, A (Small Stories) Variations D.E.B.S Looks Like A Girl The Videos Of General Idea Stander Vera Drake Dani and Alice The Lost Language of Cranes W Transformation (Event) Video Visions Different Love And Deaf Walnut Grove, Mon Amour Strange Days Visions Of Europe A Different War Made in Secret: The Story of the East Van Porn Wanted! Stray Dogs Une Visite Au Louvre Dominatrix Waitrix Collective We Love Our Lesbian Daughters Strings Vital Donnie & Clyde Magic & Miracles Wedding Daydream Suite For Freedom (Animation Programme 1) Warsaw Dorian Blues Make a Wish What Grown Ups Know Surprise Film Water, Water Drag Kings On Tour Massillon When Beckham Met Owen T:O:U:C:H:O:F:E:V:I:L (Poetry and Truth) A Way Of Life Drive Thru Maurice Who Can Speak Of Men? Taking On Technology (Event) We Don’t Live Here Anymore The Drive Memoirs Of An Evil Stepmother Who Is Gunnar? Tang Poetry Wednesday Afternoon El Pulover Moustache The Wind, In The Evening Tarnation What Goes Up Eleanor Mr Leather A Woman Reported Ten Steps, The (Strange Days) What Remains Of Us The E.M.Foster Trilogy Muted Screams A Woman’s Love Textism (Deaths and Transfigurations) Whisky facts. SUCK My Consciousness is Not In My Mouth but in A Wonderful Day Things Fall Apart (Strange Days) The White Train The Fall Of Communism As Seen In Gay My Cunt You Are The Only One Who Knows Things We Want To See (Poetry and Truth) Wild Side Pornography My Life In 12 Frames Per Minute You I Love Thirst With George Bush On My Mind Far Side Of The Moon Mysterious Skin Threnody (screening with Nathaniel Dorsky: Woman Is The Future Of Man Fast Trip, Long Drop Natural Enemy Out Of The Forest Devotional Cinema) Woman Of Breakwater Fetish A New Land Overture, The Through My Thick Glasses (Animation Pro- Women’s Love A Few Good Dykes No Light at the End of the World Pal Joey gramme 2) The Woodsman La Fidanzata No Ordinary Joe Palindromes Throw Your Watch To The Water The World Finished ’s Arc Panel Discussions Tim Orr (Masterclass) The Wound Fireflies The Nomi Song Parallels (screening with Osmosis) Time We Killed, The Yasmin Flower Arranging For Beginners O Fantasma Paths Of Glory Times Screen Talks, The Yes Gender Queer: Qu’est-Ce Que C’est? Olive Patio, The (Family Matters) To Take A Wife Yesterday George’s Date On the Shelf Peptalk (Encounters) Tony Takitani Zenith Getting To Know You Oranges Phantom Inventory, The (Animation Programme Top Spot Zwerk A Girl Named Kai Oranges are Not Only Fruit 1) Touch Of Pink (screening with Playing Dead) Girl On Girl Orlando Pin Boy Tout De Suite, A Girl Play Packed Lunch Pizza Travel Songs Grande école A Page From My Journal Plague, The (screening with Accident) Travel Songs 1967 - 1981 (Travel Songs) Granny Queer Palindromes Platform Events Trilogy: The Weeping Meadow Haircut Peehole Playing Dead (Small Stories) (screening with Triple Agent hand-some Perception Touch Tropical Malady Hard Drive (A: ) Perversion of Pink) Trumouse Show, The (Animation Programme 1) Harigata: The Alien Dildo That Turned Women The Pieces Of Chente’s Body Poetry and Truth Tube Mice (London Calling) into Sex-Hungry Lesbos Positively Naked Pont Des Arts, Le Turning the Page: Adapting Modern Novels For Hate Possessed By Demons Portrait Of Jason The Screen (Platform Event) 64 The bfi annual report 2004-2005 The Head Of A Pin Postmortem Pourquoi (Pas) Le Brésil Underground Railway (Animation Programme 1) The bfi annual report 2004-2005 65 An example of the many film titles held in As You Like It Boccioni’s Bike the bfi collection that were requested for Asparagus Body Beautiful theatrical and non-theatrical screenings Asphalt The Body Snatcher during the year. Assault On Precinct 13 Born In Flames Asterix And The Big Fight Le Boucher 8 1/2 L’atalante Boudu Saved From Drowning 23 At Five In The Afternoon Boxcar Bertha 2010 At Land Boy And Bicycle 2 Or 3 Things I Know About Her At The Height Of Summer The Boy Friend 39 Steps Atlantic City, U.s.a. The Boys In The Band 42nd Street Atomic Café Brainstorm 49th Parallel The Attack On Zeebrugge Breakfast At Tiffany’s The 5,000 Fingers Of Dr. T. The Attendant Breakfast On The Grass 84 Charing Cross Road Au Hasard Balthazar The Bridegroom, The Comedian, And The Pimp A Film For Her Aventure Malgache Brief Encounter A Is For Autism L’avventura Brighton Rock Move Down A Matter Of Life & Death The Baby A Propos De Nice Bacall To Arms Britannia Absolute Beginners Bach And Broccoli Broken Blossoms Or Yellow Man And The Girl Act Of God Some Lightning Experiences The Bad And The Beautiful Broken English Three Films By Marianne 1961-80 Bad Luck Blackie Faithfull Actor’s Revenge Bad Timing The Brood An Adventures Of Baron Munchausen Baldwin’s Nigger The Brother From Another Planet The Adventures Of Goopy And Bagha Ballet Mécanique Buddy Buddy The Adventures Of Prince Achmed Ballon D’or Burning An Illusion The Adventures Of Robin Hood Balzac Et La Petite Tailleuse Chinoise Cabaret Aelita Band Wagon Cabin In The Sky The African Queen Bande À Part The Cabinet Of Dr. Caligari L’ Age D’or La Bas The Cabinet Of Jan Svankmajer Aimee & Jaguar The Battle Of Algiers Ai-ye The Battleship Potemkin Caméra D’afrique Alexander Nevsky The Bead Game Camera Makes Whoopee Alfie Beau Travail The Cameraman Ali Baba Bunny Camille Alice Goes To School La Belle Et La Bête A Canterbury Tale Bells Are Ringing Captain Blood All Quiet On The Front Bells Of Atlantis Captive Allo, Allo Berlin - Caravaggio Alpha Omega Best Intentions The Caretaker Alphaville Betty Boop’s Hallowe’en Party Carmen Jones Alternative Fringe Betty Fisher And Other Stories Carnival Les Amants Beyond Image Carnival Of Souls Les Amants Du Pont Neuf Bhumika The Carriers Are Waiting Am I Beautiful? Les Biches The Case Of The Stuttering Pig Amarcord Il Bidone The Case Of The Witch Who Wasn’t Amelia And The Angel Big Business Cat And Mouse American Boy Big Combo The Cat Came Back The American Friend The Big Heat Cat Concerto American Graffiti The Big Shave Cat People An American In Paris The Big Sleep Cat That Hated People American Splendor The Big Snit Caught American Wartime Newsreel Bigger Than Life Ceddo An American Werewolf In London A Bird’s Life Le Cercle Rouge Le Amiche Birth Of A Nation The Ceremony Amore In Città The Bitter Tears Of Petra Von Kant The Champ Amores Perros Black Cat White Cat Un Chant D’amour L’amour Existe Black Jack The Charge Of The Light Brigade An Angel At My Table Black Narcissus Charlie: The Life And Art Of Charles Chaplin Anchors Aweigh Chase Film In 1903 Die Andere Seite The Cheviot, The Stag And The Black, Black Oil Andrei Rublev Blackmail Un Chien Andalou The Angelic Conversation Blacktop A Story Of The Washing Of A School Le Chignon D’olga Angels With Dirty Faces Play-yard Children At School Animation Legend:winsor Mccay Blade Runner Chinese Roulette Ankur Bleak Moments Anna Karenina Blind Gary Davis Chocolat Annie Hall Blinkity Blank Chongqing Senlin Anton And Minty The Blob Christ Stopped At Eboli Antonio-das-mortes A Blonde In Love Chronicle Of A Summer Aparajito Blonde Venus Chronicle Of Anna Magdalena Bach Apple The Blood Of A Poet Cinema On The Road Apu Trilogy Blue Arabian Nights The Blue Angel Architectural Millinery Blue Black Permanent L’argent The Blue Light The City Army In The Shadows The Blues Brothers Clash Of The Titans 66 The bfi annual report 2004-2005 Arsenic And Old Lace Bob’s Birthday TheClerks bfi annual report 2004-2005 67 The Dim Little Island Feet Of Song Heart-ache Le Jour Se Lève Long Haired Hare Close Up Dim Sum A Little Bit Of Heart Felix Wins And Loses The Heckling Hare Joyride Looking For Langston Closely Observed Trains Dimensions Of Dialogue Fellini A Directors Notebook Hell Unlimited Ju Dou Lost In La Mancha The Closet Diner La Femme Infidèle The Duck Jubilee The Lost One The Cloud-capped Star The Dirty Dozen Hidden Agenda Julius Caesar The Love Goddess Distant Voices Still Lives Fiddle-de-dee The Hidden Fortress Just A Shabby Doll Love Me Or Leave Me Club De Femmes Diva Film High School Juvenile Liason Lucifer Rising Coalface Divine Intervention The Film Of Her High Society Kampvuur Lumiere Programme The Cobweb Zhivago Films Of G.a. Smith The Hill Farm Katzelmacher La Luna Cockaboody Dolls Films Of George Melies (Part 3) Hiroshima Mon Amour Kelly’s Heroes M Coda Don Shayn Films Of James Williamson His Girl Friday Kensal House Ma Nuit Chez Maud Coffy Don’t Look Now The Finishing Touch His Last Fight La Kermesse Héroîque Ma Vie En Rose Cold Jazz The Door Finyé His Phantom Sweetheart Kes Macbeth The Collapse Of The Tacoma Suspension Double Indemnity Fireworks History Of Nothing Key Largo Maciste All’inferno Bridge The Double-headed Eagle Hitler’s Rise To Fists In The Pocket The Hole Kika Mädchen In Uniform Le Collectionneuse Power 1918-1933 The Fixer The Hollywood Kid Kill The Day The Magnificent Ambersons Colloque De Chiens Le Doulos The Home And The World Killer’s Kiss Mahanagar A Colour Box Dr Mabuse The Flat Home Movie The Killing Of Sister George Mamma Roma The Colour Of Paradise Dr. Strangelove Or; How I Learned To Stop Flicker Flashback No. 13 The Honeymoon Killers King Carnival A Man Escaped The Comb Worrying And Love The Bomb Flirty Birdy The Horse’s Mouth King Kong Man Of Flowers Comedians Dragonflies The Flower Of My Secret Hospital Kings Row The Man Who Knew Too Much The Comic Story The Draughtsman’s Contract Hôtel Des Invalides King-size Canary Man With A Movie Camera La Commare Secca Drawings That Walk And Talk Food House Kino Pravda No. 22 Manhattan The Cook The Thief His Wife & Her Lover The Dream Life Of Angels For Me And My Gal Housing Problems Kirikou And The Sorceress Manila The Cool And Crazy The Dream Of A Rarebit Fiend Force Of Evil How To Marry A Princess Kiss Me Kate Manipulation Cool World Drifters Fort Apache Hugo The Hippo Knife In The Water The Marriage Of Maria Braun A Corny Concerto Drive For Life The Fountainhead The Hunchback Of Notre Dame Kuhle Wampe Marx For Beginners The Cost Of Love Drowning By Numbers The 400 Blows The Hunger Kukusha Masculin Feminin A Cottage On Dartmoor Drunken Angel Four Sons I Conquer World Together With Karl And The Kush A Matter Of Life And Death The Count Dust Devil The Fourth Dimension Marx Brothers Kustom Kar Kommandos Medea Cowboys Each Dawn I Die Frantz Fanon Black Skin, White Mask I Could Read The Sky L.B.J A Coy Decoy Eadweard Muybridge-Zoopraxograph Freaks I Do L.627 Meet Me In St Louis The Eagle Has Landed Free Cinema Programme One I Know Where I’m Going The Ladykillers Meeting The Man Le Crime De Monsieur Lange Early Animation (Compilation) Full Of Grace I Live In Fear Lady Lazarus Men In Silence Criminal Tango Early Cinema Primitives & Pioneers Volume 1 The Future Lasts A Long Time I Racconti Di Canterbury Laissez-passer Mephisto Crossways Early Disney Animation Programmes 1,2 & 3 Gallivant I Vitelloni Land Of Silence And Darkness Le Mépris Crumb Early Edison Films 1893-1901 The Garden I Was Born But … The Last Laugh Merci Pour Le Chocolat Cuckoo (The) Early Films Of Peter Greenaway Part 1 Gaslight If…. Last Life In The Universe La Merle Cul De Sac Early Sound Films: 1896-1926 Gently Down The Stream Ikiru The Last Resort Merry Christmas Mr. Lawrence Culloden Early Trick Films George Washington Illustrious Corpses Last Supper Meshes Of The Afternoon The Curse Of The Cat People Earth The German Sisters I’m British But… Last Year In Marienbad The Metamorphosis Of Mr.samsa The Cut-ups Eaux D’artifice Germany Year Zero Imitation Of Life Late August, Early September Metropolis Cyrano De Bergerac L’eclisse Gertrude Stein: When You See This, Remember Immortal Story Late Spring Microcosmos Les Dames Du Bois De Boulogne L’école Des Facteurs Me In A Lonely Place Laughter In Paradise A Midsummer Nights Dream Dark Days The Edge Of The World In The Shadow Of The Sun The Lawless Heart Mighty Joe Young Dark Victory Effi Briest Get Out And Get Under In The Street The Lead Shoes Mildred Pierce D’artagnan’s Daughter Electric Edwardians Gigi In The Year Of The Pig Leningrad Cowboys Go America The Mill Daugters Of The Dust The Elephant Man Girl Crazy The Indian Tomb Leon Morin, Priest The Mill Girl A Story Of Factory Life A Day At The Races Elvis On Tour The Girl From Paris Leonardo’s Diary Millions Like Us Day For Night En Attendant Le Bonheur The Girl Rosemarie An Inside Job The Leopard Minor Mishaps The Day I Became A Woman Les Enfants Terribles Girl’s Night Out Intervals Let My People Go Mirror Enginemen Go Slow On The Brighton Line The Intruder Letter From My Village Misery Day Of Wrath Enough To Eat Going Equipped Les Invasions Barbares Lieutenant Kizhe The Mishaps Of A Baby Carriage Daybreak Express Entr’acte Gone To Earth Invisible Man In Blind Love The Life And Death Of Colonel Blimp The Mistress Days And Nights In The Forest Europa Europa Grand Hotel Invocation Of My Demon Brother The Life And Death Of 9413 A Hollywood Extra Moana A Romance Of The Golden Age Days Of Thrills And Laughter Every Day Except Christmas Grand Prix The Iron Horse Life In A Scotch Sitting Room Momma Don’t Allow Dazed And Confused Evolution La Grande Illusion Iron Mule Life Is Sweet Mon Oncle Dead Man Existenz The Great Caruso Isle Of The Dead Lift To The Scaffold Mongreloid Dead Of Night The Exterminating Angel The Great Dictator It All Starts Today Monkey Business Deadsy The Extraordinary Adventures Of Mr West In The Great Sacrifice It Always Rains On Sunday Like Water For Chocolate ’s Holiday Dear Phone The Land Of The Bolsheviks Grey Wolf And Little Red Riding Hood It Happened One Night Lines Horizontal Monty Pythons Life Of Brian Death In Venice Eyes Without A Face The Grusome Twosome Italianamerican Lines Vertical The Death Of Stalinism In Bohemia Face Guns In The Afternoon It’s A Wonderful Life Listen To Britain Mother India Il Decamerone The Fairy Of The Phone Gypsies Ivan’s Childhood Little Caesar Mouchette Decasia The Fall Of The House Of Usher The Hairdresser’s Husband J.S.Bach: In G Minor The Little Chimney Sweep Mouse In Manhattan The Decline Of The American Empire Fall Of The Romanoff Dynasty Hairspray Jailhouse Rock The Little Tinker Movietime Cartoon Parade No.1 Deep Waters Fallen Angel Halfaouine Jan Svankmajer Volume 1 The Lives Of The Firecrackers Movietime Cartoon Parade No.3 The Deer Hunter Fame Halloween Japon Living Movietime Cartoon Parade No.9 Def By Temptation The Happiest Days Of Your Life Jason And The Argonauts Living On The Edge Mrs Dalloway The Ten Commandments Far From The Madding Crowd Happy Aniversary Jazz Of Lights Loafer Mughal-e-azam Delicatessen Farewell Brecht’s Last Summer Happy In The Morning Jazz On A Summers Day Lodger Murderers Amongst Us The Devil And The Nun Farewell My Concubine Happy Mother’s Day, Mrs Fischer Jemima + Johnny Logan’s Run Devil Doll Farinelli Harlequin Jésus Of Montréal Lola Musical Poster No.1 The Devil’s Backbone Father And Son The Harvey Girls La Jetée Lolita Muybridge Revisited Les Diaboliques Fatty Issues The Hat Jezabel London My Ain Folk Diamonds Of The Night Fear Eats The Soul Haunted Spooks Joie De Vivre The Loneliness Of The Long Distance Runner My Baby Just Cares For Me Diary Of A68 Country The bfi Priest annual report 2004-2005 The Fearless Vampire Killers He Loves Me, He Loves Me Not Jour De Fête TheMy bfiBeautiful annual Laundrette report 2004-2005 69 My Childhood Papageno Shoah Suspicion Trial Of Joan Of Arc My Fair Lady Paris 1900 The Rat Trap Shoot The Moon Suzhou River The Triangle My Favourite Year Paris Qui Dort Reason, Argument & Story The Shooting Of Dan Mcgoo Sweet Sweet Back’s Baad Asssss Song True Heart Susie Partie De Campagne Reassemblage Shooting Stars Swing Time Two Educational Films Of 1910 My Love Has Been Burning Pas De Deux Rebecca A About Killing The Swooner Crooner Two Men And A Wardrobe My Own Private Idaho The Passerby Red Beard Sympathy For The Devil Two Or Three Things I Know About Her My Way Home The Passion Of Joan Of Arc Red Desert Short Sharp Shock T.g. Psychic Rally In Heaven Le Mystère Picasso The Red Shoes Showboat (1936) Take Me Out To The Ball Game Ugetsu Monogatari N Or Nw Pat Garrett And Billy The Kid Red Sorghum Showboat (1951) Tales Of Beatrix Potter Ukigusa Nach Fünf Im Urwald Pathé Colour Programme Regeneration Sick The Life & Death Of Bob Flanagan, Tales Of The Taira Clan Umberto D. Name Of A River Peel La Règle Du Jeu Supermasochist The Tango Lesson Under The Skin Nanook Of The North Pendulum The Pit And Hope Repo Man Sigmund Freud’s Dora Tansy The Unknown Napoleon Pennies From Heaven Repulsion The Silent Enemy Taris Up To A Point The Narrow Margin People On Sunday Rescued By Rover Silent Shakespeare The Taste Of Cherries Uzak The Navigators Pépé Le Moko Rescued From An Angels Nest Silk Stockings A Taste Of Honey Va Savoir Neighbours Performance The Return Of Martin Guerre Since Otar Left The Tempest Vagabonde Never Weaken Peter Greenaway Programme Return Of The Secaucus Seven The Singing Fool Le Temps Du Loup The Vanishing Street New Earth Pett And Pott A Fairy Story Opf The Suburbs Rheingold Singin’ In The Rain Terence Davies Trilogy Le Vent D’est The New York Hat The Phantom Carriage Rhythm Of A City The Singing Lesson Terminus Veronika Voss Next The Phantom Of The Opera Rich And Famous Sisters Or The Balance Of Happiness Territories Vertical Features Remake Nice Time Phil Mulloy: Extreme Animation Riddles Of The Sphinx Slap Happy Lion Tess Victor Victoria Night And Fog The Philadelphia Story Riff-raff Sleeping Beauty Le Testament D’orphée Videodrome A Night At The Opera Teacher The Right Girl? Slick Hare The Testament Of Dr. Mabuse La Ville Est Tranquille A Night In Casablanca Picadilly Rio Lobo The Slipper And The Rose The Story Of That’s Entertainment Virile Games Night Mail Pickpocket The Rise To Power Of Louis XIV Cinderella Theorem Visions Of Light The Art Of Cinematography The Night Of San Lorenzo Picnic At Hanging Rock The River Smile Orange The Thief Of Baghdad A Visit To The Peek Freen And Company’s The Night Of The Hunter The Pied Piper The Roaring Twenties Smiles Of A Summer Night The Thin Blue Line Biscuit Works The Night Of The Iguana Pink Floyd The Wall Robert Breer Programme Snow White The Thing From Another World Vivre Sa Vie Film En Douze Tableaux The Night Visitors Pink Narcissus Robinson In Space Snow White And Rose Red The Third Man Voyage To Italy Nights Of Cabiria The Pirate The Snowman This Is Not A Love Song Voyage To Next Nine, Dalmuir West (The Last Tram) Pirate Tape La Ronde Solaris This Is Spinal Tap W.r. Mysteries Of The Organism Nine Queens Place Vendôme Rope Dancer Solas This Unnameable Little Broom The Wages Of Fear Nineteen Nineteen Plane Daffy Rose Red Some Like It Hot Those Who Love Me Can Take The Train The Whales Of August 90º South Platform Rosebud The Son The Thousand Eyes Of Dr. Mabuse A Walk Though H Ninotchka Der Platz Rosetta The Son Of The Shiek Three Colours Blue The War Game No Blade Of Grass Playtime Russian Ark The Song Of Ceylon Three Colours Red War Requiem No End Plein Soleil S.O.B. Song Of Norway Three Colours White War Story No More Mr Nice Guy Point Blank Sacrifice The Sorcerers Three Days In Szczecin The Water Babies Noi Albino Poltergeist Salo The Sound Of Music Three Sad Tigers Water Drops On Burning Rocks El Norte Porky In Wackyland Saltwater Sous Le Sable The Threepenny Opera Waterloo Bridge North By Northwest ’s Feat Salvatore Giuliano South Thriller Watership Down Northwest Hounded Police Porky’s Romance Sammy And Rosie Get Laid Soylent Green Throne Of Blood Wavelength Nosferatu Portrait Of Dag Hammarskjold Sandman Speedway Through A Glass Darkly We Are The Lambeth Boys Nostalgia The Postman Always Rings Twice Le Sang Des Bêtes Spellbound Thugs With Dirty Faces West Side Story Nothing Sacred La Poulette Grise Sanjuro The Spider’s Stratagem Thumbelina Westworld Powers Of Ten Thursday’s Children What Have I Done To Deserve This? Now Voyager Pravda No. 21 Spite Marriage Ticket Of No Return What’s Opera, Doc? La Premiere Nuit Saragossa Manuscript Spring In A Small Town Tie Me Up! Tie Me Down! What’s Up, Doc? O Dreamland Pressure Saturday Night And Sunday Morning Spring Symphony Tie Up The Ballcock Wheelchair Officer’s Ward The Princess Bride Savage Messiah Springtime In A Small Town The Tiger Of Eschnapur When Harry Met Sally… The Official Version Scaramouche Spur Der Steine Tilaï Where Eagles Dare Oh… Rosalinda! The Proud Valley Scarface St. Louis Blues The Times Of Harvey Milk Where The Sidewalk Ends Oh, What A Knight Proust’s Favourite Fantasy Stage Door The Tin Drum Where’s The Money Ronnie! The Old Actor The Public Ememy Schwarzfahrer Stagecoach Tintin And The Lake Of Sharks White Heat The Old Grey Hare The Public Voice Scorpio Rising The Stain The Titfield Thunderbolt White Hell Of Pitz Palü On Dangerous Ground Puce Moment Scorsese Package Stalker To Be Or Not To Be The White Sheik On Land, At Sea And In The Air Pudgy Takes A Bow Wow Scrooge Startup.com To Have And Have Not Who Cares On The Black Hill Pull My Daisy The Searchers The Steamroller And The Violin To Sleep With Anger The Wicked Lady On The Bowery The Pumpkin Race Sebastiane Storm Over Asia Together Wild And Woolfy On The Town Punch And Judy Second Class Mail Story Of Qiu Ju Tom Jones A Wild Hare Once Upon A Time In The West Puss In Boots Secret Joy (Of Falling Angels) The Story Of The Late Chrysanthemums Tommy Wild Strawberries One Plus One Putting Pants On Philip Seemabaddha La Strada Tomorrow’s Saturday Wild Style One Potato, Two Potato Pygmalion A Self-made Hero Stranger Than Paradise Top Hat Wild Women Don’t Have The Blues Only Angels Have Wings The Queen Sergeant York Strangers Kiss Torch Song Trilogy The Window Cleaner The Optimists Of Nine Elms Queen Christina Seven Arts Strawberry Blonde Touch Of Evil Windy Day Orphans Of The Storm Queen Kelly Seven Brides For Seven Brothers Stray Dog Tour Programme: Transport Films Winstanley Orphée A Quiet Week In The House Seven Samurai The Street Tour Programme:leisure & Fairground Winter Light Ossessione Rabbit Seasoning Seven Songs For Malcolm X Street Angel Tour Programme:uncovering Sport Witchfinder General The Ossuary Rabbit’s Moon Seventh Heaven Street Of Crocodiles Tous Les Matins Du Monde Withnail & I Other Free Cinema Programme Two Radio On Strike The Towers Wittgenstein Out Of The Past A Rage In Harlem The Seventh Veil Sullivan’s Travels Towers Open Fire The Wizard Of Oz The Outfit Ragtime Shadows Summer Madness Town Bloody Hall Woman Of The Dunes Outfoxed The Railway Children Shaft Sunrise Toxic The Women The Overcoat Rain Shattered Sunset Blvd. The Tragedy Of A Ridiculous Man Women Of The World Paisà She Wore A Yellow Ribbon Surface Tension The Tragedy Of Carmen The Wonderful World Of The Brothers Grimm Pandaemonium Random Acts Of Intimacy Shifting Units Surname Viet, Given Name Nam Travels With My Aunt Words For Battle Pandora’s70 Box The bfi annual report 2004-2005 Rapid Eye Movements Shirt Factory Surprise A Song Of Two Humans The Treasure Of The Sierra Madre TheThe bfi World annual Of Georgereport Méliès2004-2005 71 World Of Plenty Adult Learner’s Week Impact Would-be Juggler Alfred Dunhill Imperial War Museum With thanks to the designers of the following great film posters who have inspired the design throughout Written On The Wind American Masters Independent Cinema Office this publication. All the following posters are from the bfi still, Posters and Designs collection. Art Review Indyssey Entertainment Xala Arts and Humanities Research Board Institut Français Yaaba Institute Cervantes In order of appearance Yankee Doodle Dandy Audiovisual Industry Promotion Institute for the Intellectual Development of Yantra Australian High Commission Children and Young Adults Austrian Cultural Forum Heritage Foundation The Year Of Living Dangerously Austrian Film Commission Italian Cultural Institute AXM Italian Ministry of Culture Yellow BBC ITV Network Ltd Yesterdays Tomorrow BBC Arena Ivan the Terrible Yojimbo BBC five J2O Yolanda And The Thief BBC London 94.9FM Japan Foundation You Only Live Once Belfast City Council Konditor & Cook Young Soul Rebels Blast Koninkrijk der Nederlanden You’re Human Like The Rest Of Them British Board of Film Classification Lambeth Council Zabriskie Point British Council, Northern Ireland London Development Agency Zatoichi Bridge House Estate Trust Fund London Disability Arts Forum Zazie Dans Le Metro Bureau Export Mayfair Cellars A Zed And Two Noughts Canadian High Commission Midnite Express Zygosis Candy Bar MTV Who Cares Carlton Screeen Advertising NEC Wicked Lady Centro Sperimentale di Cinematografia ntl Wild And Woolfy Champagne Jacquesson Northern Ireland Film and Television Commission Wild Hare Channel 4 Northern Ireland Tourist Board Wild Strawberries Cinecittà Holding Odeon KIND HEARTS AND CORONETS LA REGLE DU JEU UGETSU MONOGATORI THE SCAPEGOAT Wild Style CineFeel Orange Dir. Robert Hamer (1949) Dir. Jean Renoir (1939) Dir. Kenji Mizoguchi (1953) Dir. Robert Hamer (1958) Wild Women Don’t Have The Blues City Pink Paramount Home Entertainment Window Cleaner Classic FM Penguin Classics Windy Day Cobra Beer Photoplay Productions Ltd Winstanley Coca Cola Picture Production Company Winter Light CODA Quebec Witchfinder General Council for the Curriculum, Examinations and Reality Film Withnail & I Assessment Renault Wittgenstein Czech Centre Res Wizard Of Oz Danish Film Institute RIO Cinema Woman Of The Dunes The David Lean Foundation Roehampton University Women (The) Design Museum Royal Danish Embassy Women Of The World Department of Culture, Media and Sport Royal Norwegian Embassy Wonderful World Of The Bros. Grimm Department of Education, Northern Ireland Screen Select Words For Battle Edinburgh International Film Festival Sheffield International Documentary Festival World Of Apu Embassy of Skill Set World Of George Mekies Embassy of Sweden Sky Movies (BSKYB) World Of Plenty Empire Magazine Sofitel St James Hotel Would-be Juggler The Eric Anker-Petersen Charity Soho House Written On The Wind Ernst & Julio Gallo Southopia Wrong Trousers European Commission Spanish Embassy THREE DAYS OF THE CONDOR A MATTER OF LIFE AND DEATH THE CHARGE OF THE LIGHT BRIGADE THE SPIDER AND THE FLY Xala European Union 2005 Spitfire Pictures Dir. Sydney Pollack (1975) Dir. Michael Powell, Emeric Pressburger Dir. Tony Richardson (1968) Dir. Robert Hamer (1949) Yaaba European Union/European Social Fund Stella Artois (1946) Yankee Doodle Dandy The Film Foundation Taj Hotel Group Yantra Film London Tartan Films Yasemin Filmitalia/ Audiovisual Industry Promotion TCM/Crimewave Year Of Living Dangerously Finnish Institute in London Teatro Yeelen First Light The Berners Hotel Yellow Five The Canada Council for the Arts Yesterdays Tomorrow FLP London The Guardian Yojimbo Flux Yolanda And The Thief France 5 The Pier You Only Live Once g3 The Script Factory Young Soul Rebels Gallo Winery The Times You’re Human Like The Rest Of Them Genesis The University of Sheffield Zabriskie Point Goethe-Institute London Peter and Nancy Thompson Zatoichi Granada International Time Out Zazie Dans Le Metro in Britain Zed And Two Noughts Groovy Gecko TV5 Zygosis Guinness UK Film Council Haagen Dazs (General Mills) UK Media Desk The British Film Institute wishes to thank all Heat Uncut magazine the individuals, organisations, companies and Heaven Unifrance DUCK SOUP BIG WEDNESDAY charitable trusts and foundations who were so Hellenic Foundation for Culture Vanity Fair Dir. Leo McCarey (1933) Dir. John Milius (1978) generous with their support during 2004/05. Simon W. Hessel Warner Home Video The bfi has also received a number of legacies High Commission of Canada White Star Line for which we are extremely grateful. Highland Spring XFM 104.9 London HMV Yves Saint Laurent Adobe 72 The bfi annual report 2004-2005 Hollywood Reporter and others who wish to remain anonymous The bfi annual report 2004-2005 73