British Film Institute Report & Financial Statements 2006

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BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006

Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission

ABOUT THE BFI

The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to ﬁ lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request.

Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the beneﬁ t of as wide an audience as possible, to create and encourage debate.’

SUMMARY OF ROYAL CHARTER OBJECTIVES:

> To establish, care for and develop collections reﬂ ecting the moving image history and heritage of the United Kingdom;

> To encourage the development of the art of ﬁ lm, television and the moving image throughout the United Kingdom;

> To promote the use of ﬁ lm 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; and

> To promote education about ﬁ lm, 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.

Main picture: The Mission (1986); this page l-r: Trois Couleurs Bleu (1993), The Open Road (1925), Breakfast on Pluto (2005)

The mission To champion mov ing image culture in all its richness and diversity, across the UK, for the benefit of as wide an audience as possible, to create and encourage debate.

2 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 3 Great expectations

GOVERNOR’S REPORT “the new BFI Southbank

The BFI’s forward strategy sets out a plan to: meets the need of a new generation of film-goers > Signiﬁ cantly improve the care of and access and film-makers.” to the BFI National Archive;

> Reach more and different audiences across the UK; and

> Ensure the future of an international focus for ﬁ lm in London through the BFI Festivals and preparing the BFI to replace the NFT (National Film Theatre) with a ﬁ t-for-purpose National Film Centre.

When this strategy was set, the BFI recognised that it needed to modernise, become more efﬁ cient and adopt a more open, responsive and approachable spirit.

This year much progress has been made on most fronts. In some areas we have exceeded expectation, whilst in other of the more ambitious and untried new areas, we have not achieved all we aspired to.

In the year the BFI also started to come to an understanding of how the new status within the Government Accounting Net would call for some re-consideration of the forward strategy.

The Chairman and Board of Governors are also aware that in refurbishing its NFT building on the South Bank – soon to become known as BFI Southbank – they have made enormous Main picture: Great Expectations (1946); demands on the organisation both fi nancially and in staff this page l-r: Wallace & Gromit in time and capacity. There is no doubt that the commitment The Curse Of The Were-Rabbit (2005), to this exciting project will cause us an extremely lean Ballet Méchanique (1925), Tim Burton’s and diffi cult year which will show up in the accounts for Corpse Bride (2005) 2006/7. We have done this because the refurbishment of BFI Southbank meets the need of a new generation of fi lm-goers and fi lm-makers in the making. Furthermore, it is a signal of our much more ambitious and long-term intent to build a new BFI.

Great expectations The BFI’s magazine The BFI recognised Sight & Sound sold that it needed to over 278,000 copies modernise, become more efficient and adopt a more open, responsive and approachable spirit.

4 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 5 Out of the past

ARCHIVE STRATEGY

Following the restructure concluded last year, the new “a rich array of archive Archive curatorial unit undertook several signifi cant research and development programmes, from early colour, public material has been information fi lms and advertising. We completed our fi rst selected, curated and critical milestone, ahead of schedule, in refurbishing the prepared for digitisation nitrate vaults at Gaydon and re-housing the vast majority of the precious nitrate material previously stored in sub-standard for the Mediatheque, concrete bunkers. Extensive programmes of inspection and which is to be opened as checking, carried out by newly trained staff, provided essential part of BFI Southbank.” data on the condition of the collection, to help plan the next phase of the collections stabilisation project.

As part of the major new archive access project, a rich array of material has been selected, curated and prepared for digitisation for the Mediatheque, which is to be opened as part of BFI Southbank.

Despite the international profi le of the BFI National Archive, the fi lm archive sector as a whole in the UK suffers from under investment and does not have the same level of recognition The BFI screened over afforded other cultural archives. The UK Film Council, as the lead strategy agency for fi lm in Britain, asked the BFI to take 3,000 fi lms across the the lead in developing a cohesive, national archive strategy, UK – from rare silent co-ordinating with the UK’s main fi lm archive organisations. comedies to cult The fi rst phase of that and involving the RFAs, National Council for Archives, ACE, BBC, MLA, Screen England, BL and movies and archive FAF*, has been completed and papers submitted to the DCMS television series. as part of its wider review of fi lm activities.

There is wide recognition of the need to bring investment into the BFI and that partnership-working, particularly with the Archives, should be pursued. A BFI-commissioned feasibility study investigating and testing potential partners for the Archive reported in January 2006. As well as helping provide clarity of vision for the BFI, the report validated the proposal for partnering more formally with the higher education sector and recommended a consortium to avoid concerns about institutional exclusivity. In the meantime, several welcome and beneﬁ cial partnerships are already being enjoyed - most notably with the University of Shefﬁ eld working on Mitchell and Kenyon, the University of Newcastle on the public value of the Archive, and the University of Westminster on Arts Council England’s Artists’ Documentary collection. Further partnerships are in active discussion.

* Regional Film Archives; Arts Council England; Museums, Libraries and Archives Council; British Library and Film Archive Forum.

Main picture: Out of the Past (1947); Out of the past The BFI Archive is the this page l-r: The Open Road (1925), The BFI has taken the largest in the world, The General (1926) lead in developing and one of the busiest. a cohesive, national We deal with 12,000 archive strategy. print loans a year.

6 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 7 Walkabout

CULTURAL PROGRAMME “BFI Black World

2005 has seen the BFI produce a powerful and diverse launched simultaneously cultural programme, with seasons and events in the NFT across fi ve cities and choreographed alongside event screenings nationally and incorporated 40 internationally. separate events and One such example is BFI Black World, which ran over the 30 external partners.” Summer and was designed to both broaden the BFI’s reach to black audiences and bring an appreciation of black cinema to non-black audiences. The project launched simultaneously across fi ve cities and incorporated 40 separate events and 30 external partners. Black World strands featured in the London Film Festival, NFT and touring programming, and encompassed Theatrical and DVD releases, Sight & Sound and Screenonline editorial coverage. A range of online and Main picture: Walkabout (1970); learning resources underpinned the whole project and this this page l-r: DVD cover for Godzilla played to a key audience in the 16-24 age group. (1954), Double Indemnity (1944), The Open Road (1925), Tsotsi (2005) During the year, the BFI remained passionately committed to support any venue, regardless of size or how geographically remote, and it distributed fi lms to some 800 screens in every corner of the UK. Nearly two thousand titles were made available for major cinemas, fi lm clubs, universities and arts venues and through its regional screenings, the BFI reached an audience of 590,000, of which 66% were outside London.

The year also shows evidence of the BFI’s drive to reach more people through a diversiﬁ cation of distribution channels. Partnerships with broadcasters continued to offer huge new opportunities to reach mass audiences and following last year’s highly successful co-production with the BBC on the Mitchell & Kenyon Collection, we went on to co-produce The Lost World of Friese-Greene together, transmission date in 2006. We forged a restoration partnership with Granada for the Michael Powell centenary and embarked on a national tour celebrating ITV’s 50th birthday.

We look forward to new collaborations with the BBC, such as a new programme looking at the history of Silent Film in Britain, again due for transmission in 2006, and a British Film Festival scheduled for the Summer of 2007. Additionally, planning is well underway with Channel 4 to celebrate its 25th Anniversary in the Autumn of 2007.

Walkabout Screenonline user Through its regional registrations almost screenings, the BFI doubled during the reached an audience of year to 6,266 schools 590,000, of which 66% and libraries across were outside London. the UK and attracted around 7,000,000 page impressions.

8 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 9 Do the right thing

CULTURAL PROGRAMME CONTINUED Michael Powell’s Black

Looking back in time to the cinema-going experience of a Narcissus toured the two-feature presentation with newsreel and cartoons that length and breadth of existed up until the mid to late 70s, the BFI has started a the UK, including the new scheme to present archival shorts in conjunction with the release of new mainstream features. The fi rst of these Edinburgh Film Festivals was a re-mixed version of a Mitchell & Kenyon fi lm with attracting audiences music by The Pogues and re-edited by Jonathan Glazer, of 5,000 which was shown alongside the Pathé release Mrs Henderson Presents. Four similar initiatives are now planned. The BFI is particularly grateful to distributors and cinema chains for their support with this and there is every expectation that the new UKFC-formed Digital Screen Network initiative will enable us to continue showing new archival shorts. Main picture: Do The Right Thing (1989); During the year BFI Distribution released 12 titles this page top-bottom: L’Enfant (2005), encompassing classic rediscoveries, rarely-seen black L’Armée des Ombres (1969), cinema, challenging contemporary fi lms and new archival Made in Britain (TV 1983) restorations. As part of the launch of BFI Black World there were high-profi le, simultaneous screenings of Baadasssss! in London, Manchester, Cardiff, Birmingham and Bristol, with subsequent releases of The Night of Truth and Black Orpheus screening at cinemas across the UK later in the season.

The classic Michael Powell season at the NFT featured a series of events and digital restorations of a number of his most signiﬁ cant works, including Black Narcissus and The Edge of the World, and this season proved extremely popular with 96% occupancy. Black Narcissus toured the length and breadth of the UK, including screenings at the Edinburgh Film Festival and at two major public events at outdoor venues in London attracting audiences of 5,000. The season underpinned the Archive classics strand at the Cannes Film Festival and a celebration screening of a number of Powell Pressburger ﬁ lms at the Academy of Motion Picture Arts & Sciences in the USA. It was accompanied by a BFI biography of Michael Powell, a poster and design exhibition sourced from the Collections, BFI-created web materials and a BFI DVD release.

Do the right thing During the year BFI Distribution released 12 titles encompassing classic rediscoveries, rarely-seen black cinema, challenging contemporary films and new archival restorations.

10 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 11 Cinema paradiso

CULTURAL PROGRAMME CONTINUED “4,000 young people

The BFI released on DVD 29 titles in total during the year. Best attended Optronica, the sellers included the extremely popular Electric Edwardians: The UK’s first ever festival Films of Mitchell & Kenyon (1900-1906); and the release of the of visual art and music.” fi rst two volumes of the much-loved British Transport fi lms. On and off the Rails (1951-1980) and See Britain by Train (1952- 1966) were both complemented by the critically acclaimed Geoffrey Jones: The Rhythm of Film (1958-1980). As part of the BFI Black World season we released Isaac Julien’s controversial Looking for Langston (1988), Burning an Illusion (1981) by Menelik Shabazz and Horace Ové’s seminal Pressure (1975). Other special releases during the year included the Classic Kurosawa box set (1949-65), which offered collectors fi ve titles in one package; the specially packaged Godzilla (1954) Main picture: Cinema Paradiso (1988); and The Free Cinema (1956-1963) box sets which included this page top-bottom: Les Parapluis de many extra features such as commentaries and additional Cherbourg (1964), Retrato de Teresa (1979), fi lm footage. DVD cover for Free Cinema (1957) We hosted Optronica, the UK’s fi rst ever festival dedicated to a convergence of visual art and music. A hybrid of fi lm festival and music festival, Optronica was designed to create a new kind of cinematic experience, showcasing emerging and established talent to bring new audiences to a blossoming artistic genre. It included the UK premiere of DJ Spooky’s Rebirth of a Nation, a spectacular live solo fi lm remix by the noted New York turntablist adding new music and meaning to DW Griffi th’s controversial masterpiece The Birth of a Nation (1915). The live performances at the NFT, IMAX and all but one other cinema sold out, reaching audiences of 4,000 predominantly under the age of 35, with a further 3,500 people downloading the content online over the following fi ve days.

The London Film Festival was a highly successful event in terms of audience, fi lm choice and industry support. This has led to increased momentum and a growing awareness and expectation of the further potential the Festival could offer in the future. Cognisant of this growing interest and with the Festival’s 50th birthday looming, we embarked on a fact- fi nding mission in a series of consultations with key industry fi gures.

The fi ndings of the consultation will report in the next fi nancial year and feed into a wider government desire for a fi lm festival strategy in the UK. Key considerations for the BFI are long term stability, reduced dependence on (uncertain) sponsorship income, growth of facilities to support fi lmmakers and the industry and an ability to present a world-class Festival in London that can compete aggressively for profi le and support against other key Cinema paradiso international Festivals. Early indications show wide The 49th London Film recognition for the value of investing further in the Festival Festival was a highly and this gives us a solid foundation on which to build. successful event in terms of audience, film choice and industry support.

12 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 13 Happy together

CULTURAL PROGRAMME CONTINUED

WORKING IN PARTNERSHIP

The new Partnership Offi ce has, in seven months of existence, started to help the BFI extend impact and reach. Its initial focus was to work with the Regional Screen Agencies to achieve a better understanding of what the BFI offers regionally and to explore how this could be incorporated meaningfully into the RSAs own individual plans. This relationship-building has resulted in the development of pilot projects between BFI education and some RSAs, and the establishment of a National Archive Strategy. Also proposed is a series of events from 2006 to support specialised exhibition with a focus on programming from the archives, a look at best practice in fi lm exhibition Main picture: Happy Together (1989); in mixed arts venues, and a new national forum for this page: poster for Metropolis (1927), specialised exhibition. This last initiative is to help inform Abbas Kiarostami, The Sound of Music programming at the NFT so that longer-term strategic work (1965), Topsy-Turvy (1999) with Regional Film Theatres can be achieved. The Partnership Offi ce is also developing plans to support proposed regional Mediatheques, explore the benefi ts of a joint Membership scheme and provide support for funded projects – the Independent Cinema Offi ce and Film Education.

EDUCATION

For several years, the main thrust of BFI Education has been to work towards establishing ﬁ lm as an integral part of the primary curriculum. We took a major step towards achieving this aim in the year. Working alongside the DFES National Literacy Strategy, 40 local authorities are now training teachers using BFI classroom resources and these are in use in 7,000 schools. Showing a creative entrepreneurial streak, the education team stimulated a national, hotly-debated conversation about which ﬁ lms all children should see as a basic entitlement.

We have become increasingly aware of the need to focus the education plan to support the wider BFI strategy. This need chimes with a wider awareness across the UKFC- funded ‘family’ of the need for a more joined-up approach to education. The BFI is leading, in partnership with the UKFC, a strategy group to evolve a cohesive forward plan that will report in the next ﬁ nancial year and that will contribute to the comprehensive spending review submission.

“40 local authorities are Happy together now training teachers A new Partnership Office has been set using BFI classroom up to help the BFI resources and these are extend impact in use in 7,000 schools.” and reach.

14 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 15 Modern times The greatest step Modern times forward in the year was the ability to finally green light DIRECTOR’S REPORT the development on The greatest step forward in the year was the ability to fi nally the South Bank. green light the development on the South Bank. Monies received from the DCMS in lieu of mortgage income (no longer permitted under Government Accounting Net rules) and a building tender within budget signalled a start on site on 1 January 2006. The aim of this modest, but strategically important, development is to create a ‘rehearsal room’ for what a future landmark Film Centre might offer. It will help ignite in visitors’ minds all the enjoyment that fi lm can stimulate and inspire, and reaffi rm why fi lm absolutely must be recognised with the same national public presence as all the other major art forms.

We started the re-branding of the BFI, working from the inside out, with the determination of a new set of values for the organisation and a plan to re-brand externally in 2006.

Turning to organisational capability: a new appraisal scheme was introduced in the Spring and a new way of working agreed with the trade unions. During the year, agreement was reached to end the discredited Performance Related Pay scheme and replace it with a new Pay and Grading scheme which is now in development.

Minimising costs, achieving economies and growing proﬁ t are vital to the BFI’s ability to achieve its ambitious plans. Staff costs in particular have been kept under control through stringent invigilation. Proﬁ t from BFI Trading, although up on the previous year, did not achieve planned growth. Admissions to the NFT and IMAX were negatively affected by unexpected closures for essential building work and the London terrorist attacks.

The Development Department, however, achieved signiﬁ cant success with individual donations and special grants pledged during the year exceeding its ambitious target, with further pledges for the following year.

In last year’s Report and Accounts we outlined our aims for 2005/2006. We have made signiﬁ cant achievements and progress during the year against these aims.

Amanda Nevill Director, BFI

Main picture: Modern Times (1936); this page: artist’s impression of BFI Southbank 16 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 17 The commitments During 2005 essential The commitments refurbishment was carried out to NFT1 prior to the start of KEY AIMS FOR 2005/06 major re-construction work on other parts WHAT WE SAID WE WOULD DO HOW WE DID of the building. Tour the Electric Edwardians Collection This programme of Mitchell & Kenyon ﬁ lms was screened to as wide an audience as possible in over 40 UK venues and seen by more than 7,500 people.

Embark on a pan-BFI celebration Over 11,000 people across Britain attended Black World, of black moving image culture a six-month programme of 40 separate screenings and events. Also included in the project were DVD releases, theatrical releases and online and learning resources targeted at the 16-24 age group.

Broadcast collaboration to bring The BFI joined the BBC on a regional tour of the route Claude Friese-Greene’s The Open Road followed by the ﬁ lm to meet locals and to research the to the small screen places and people featured in it. This reached an audience of over 2,700. A new co-production with the BBC, The Lost World of Friese-Greene, will be broadcast in 2006.

Launch the BFI database online Extensive software development and data integration work was completed to transfer the ﬁ lm and TV database online. A ﬁ lm download system has also been developed to launch alongside in the Spring of 2006

Introduce interactive archive Two Archive Interactive programmes were launched tours on Screenonline on Screenonline. The ﬁ rst features Paul Merton reviewing the fascinating world of early comedy ﬁ lm, while the second sees Jonathan Ross provide a whistle stop tour of Ealing Studios.

Work in partnership to launch A partnership between the BFI, the BBC, Channel 4 and The Creative Archive The Open University launched this innovative new scheme to give public access to footage and sound from some of the largest ﬁ lm, television and radio archives in the UK.

Redevelop the BFI National Film Theatre (NFT) During 2005 essential refurbishment was carried out to NFT1 to improve the viewing experience, prior to the start of major re-construction work on other parts of the building. This is scheduled to be completed by the end of the ﬁ nancial year.

Main picture: The Commitments (1991); On the Waterfront (1954), Fear Eats the Soul (1974)

During the year the BFI’s proposed list of 50 ﬁ lms children should see before they reach the age of 14 sparked off a hot debate in the media.

http://www.bﬁ .org.uk/education/ conferences/watchthis/top50.html#

18 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 19 KEY AIMS FOR 2005/06 CONTINUED KEY PERFORMANCE SUMMARY

WHAT WE SAID WE WOULD DO HOW WE DID KEY TARGET HOW WE DID COMPARED PERFORMANCE 06/07 IN 05/06 TO 04/05 Lead on the development of a national Working closely with the DCMS, Film Council, Regional archive strategy with key partners Screen Agencies and Film Education, the BFI has begun Audience Total number of 1,648,000 1,416,399 1,329,686 a rigorous project to establish the framework for a customer visits to nationwide education strategy for ﬁ lm. This is expected screenings to go out to consultation in the Spring of 2007. Total take-up 661,260 622,695 701,400 Completion of a major collections Work in rehousing all the nitrate holdings at Gaydon was of education stabilisation project completed ahead of schedule. A survey of the condition of and research the acetate collection continues. opportunities

Celebrate the centenary of A centrepiece of the BFI’s showcase of the work of Michael Total customer 2,309,260 2,041,094 2,031,086 the birth of Michael Powell Powell was a two-month season of his ﬁ lms at the NFT. take-up We also worked in partnership with Granada to restore two of his ﬁ lms, we released Black Narcissus theatrically TV Audience Total number 11,000,000 5,500,000 11,300,000 and released a further title on DVD. of viewers

Raise awareness of the importance of fi lm During the year the BFI held a debate on which fi lms Special Screenings* Total number of 750,000 n/a n/a from the Archive and from around the world, children should see before they reach the age of 14. customer screenings particularly in education A proposed list of the top 50 fi lms, comprised of a number from the Archive and some foreign-language works, Web Usage Total web page 55.8 million 46.4 million 23.5 million was announced and this sparked off signifi cant interest impressions and discussion in the media.

Undertake a major consultancy project aimed The BFI appointed CILIP (The Chartered Institute of at reviewing options to increase access to the Library and Information Professionals) to review options * Screenings of Archive material as part of other Archive and Library collections and the report recommended and identiﬁ ed potential non-BFI programming e.g. Archive Shorts, BBC Big Screen partnership models, which are now being explored.

Begin a brand redesign During the year we held a number of staff consultation and working culture change meetings to examine the organisational culture and investigate how it might be improved. From that process a set of brand values were agreed so that we could start to realign working practices in order to help the BFI better achieve its aims. By the end of the ﬁ nancial year signiﬁ cant progress had been made in developing a new brand identity and this will be rolled out during 2006.

DVD cover for British Transport Collection Vol 1, The Invisible Man (1933), poster for Casablanca (1942), front cover to BFI book The Cinema of Michael Powell

BFI staff joined the BBC Learning Bus touring the route featured in Friese-Greene’s The Open Road to research the places he visited and track down relatives of the people he filmed. http://www.bﬁ .org.uk/features/openroad/

20 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 21 Performance Income grew to Performance £34.5m (2005: £32.1m), with additional funds from grants and FINANCIAL REPORT “The ﬁ nancial strategy donations, including FUNDING remains to achieve UKFC capital funding economies, re-focus of £2m. Last year the BFI adopted the Statement of Recommended existing funds and build Practice (SORP) 2005 as best practice for the presentation and interpretation of the accounts. FRS 17 ‘Retirement Beneﬁ ts’ new funds for investment was also adopted, which had the impact of reducing brought in the areas prioritised forward reserves by £16.4m from £45.0m to £28.6m as in the Forward Vision.” disclosed in last year’s accounts.

Because of the signiﬁ cant impact of the pension charge last year under FRS17, the amount was separately disclosed on the face of the Statement of Financial Activities (SOFA) (2005: £1.9m, 2004: £0.9m). This year the charge of £2.1m has been allocated against the appropriate expenditure headings on the SOFA, as detailed in Note 7 of the accounts and the prior year ﬁ gures restated accordingly. In addition there is an actuarial loss of £2.2m (2005: £0.7m) charged in the SOFA in the year as a result of changes in actuarial assumptions impacting the assessment of the net liabilities of the scheme.

However, the BFI has agreed a sustainable level of contributions with the London Pension Fund Authority (LPFA) to spread the funding deﬁ cit. This will be reviewed during the year 2007/8 after the triennial actuarial valuation as at 31 March 2007. The BFI continues to review its future pension arrangements in the context of the current consultation on the future of the Local Government pension fund arrangements, under which the LPFA falls.

During the year, in line with the strategic plan, essential work began on the archive and the development of the BFI Southbank. Additional funds enabled the BFI to begin its capital investment with capital expenditure of £2.5m (2005:£0.4m) – see Note 11.

Income grew to £34.5m (2005: £32.1m), with additional funds from grants and donations, including UKFC capital funding of £2m. A good performance across a number of activities helped to generate new income for the BFI but it was another challenging year for the BFI London IMAX Cinema and also a difﬁ cult year for book publishing revenues. Further funding has been secured in 2006/7 from the Department of Culture, Media and Sport (DCMS) to enable the BFI to meet objectives through key capital investments.

The ﬁ nancial strategy remains to achieve economies, re-focus existing funds and build new funds for investment in the areas prioritised in the Forward Vision.

Main picture: Performance (1970)

22 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 23 INCOME GENERATION NET INCOMING/OUTGOING RESOURCES

Total income increased to £34.5m (2005: £32.1m). Grant-in- Net incoming resources for the year amounted to £2.1m Aid income from the UKFC remained at £16m. Income from (2005: £1.4m outgoing). This is after pension charges under charitable activities fell by 3% to £11.7m (2005: £12.1m) and FRS17 of £2.1m (2005: £1.9m credit) and restructuring costs donated services were down to £1.0.m from £1.2m (primarily of £0.3m (2005: £1.7m). The underlying operating result the non-recurring funding last year for the Digital Test Bed before these items was a surplus of £4.5m (2005: £2.2m) project). Other grants and lottery awards received in the year and refl ects both operational effi ciencies achieved during increased to £5.5m from £2.6m, the difference largely being the year and the timing of capital fundraising ahead of attributable to capital funding from UKFC of £2.0m and fund associated expenditure. raising for the development of the BFI Southbank. DISTRIBUTION AND EXHIBITION FUNDRAISING Income for the year decreased to £6.9m (2005: £7.1m) due Fund-raising costs of £0.5m (2005: £0.4m) represent the cost to less popular releases of DMR format fi lms available to the of running the BFI Sponsorship and Development Division IMAX cinema and the impact of 7 July bombings. This and in order to raise funds for the BFI. It was a successful year in lower DVD sales masked growth in other areas of commercial raising funds for the redevelopment of BFI Southbank. income. Expenditure was £13.9m (2005: £13.2m), due to greater investment in events such as Black World and the LFF. INVESTMENT IN ACTIVITIES FILM AND TV HERITAGE The BFI achieved growth in income through the continued support of the UKFC. Income for the year remained steady at £1.4m (2005: £1.4m) with DVD sales offsetting a fall in book sales. Expenditure Looking forward we are continuing to maximise our impact in this area was down slightly to £8.0m (2005: £8.1m). on fi lm culture, heritage and education across the UK through greater management focus, partnerships, effi ciencies and LIFELONG LEARNING, increased donations. RESEARCH AND DEBATE

Because of the nature of its funding the BFI does not hold Income for the year decreased to £3.4m (2005: £3.6m) as large cash balances and its fi nancial investment is focussed a result of lower book sales. Expenditure in this area on its property asset base and investing in people and increased in line with infl ation to £9.5m (2005: £9.3m). activities to achieve its charitable objectives. The BFI aims to maximise the interest income from its cash balances and thereby yield maximum benefi t from our grants and donations.

RESOURCES EXPENDED AND SERVICES

Total expenditure was £32.4m (2005: £32.8m) after pension charges under FRS17 of £2.1m (2005: £1.9m) and restructuring costs of £0.3m (2005: £1.7m). Expenditure excluding these items was £30.0m (2005: £29.2m).

Top to bottom: Bhowani Junction (1956), Top to bottom: The Innocents (1961), Sight & Sound front cover August 2006, Xala (1974), Brideshead Revisited George Clooney and Patricia Clarkson (TV 1981) at The Times BFI London Film Festival Closing Night screening of Good Night, And Good Luck (2005)

24 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 25 RESERVES POLICY GOING CONCERN

The Governors are committed to maintaining an adequate The accounts have been prepared on a going concern basis. level of free reserves to meet any unforeseen expenditure or After making enquiries, the Board of Governors have a fall in income, and this is incorporated into the budgets going reasonable expectation that the BFI has adequate resources forward and the ongoing management of activities within the to continue provided that it continues to receive adequate available income, a signifi cant element of which is subject to funding and sales based on past experience. The BFI receives market conditions. The BFI’s free reserves (net unrestricted £16m per annum from UKFC as part of the Department of current assets, see Note 18) were largely retained at £2.7m Culture, Media and Sport’s assessment of its commitment to (2005: £3.1m). Although we are looking to improve future recognising the cultural impact of fi lm, the archive and the levels of unrestricted cash and free reserves, this remains Nation’s heritage. a challenge during signifi cant capital investment. Given the view of the BFI on the continuing cultural At 31 March 2006 the BFI had total consolidated reserves importance of fi lm and the value of the archive to the of £27.4m (2005: £27.3m) after the impact of FRS 17 nation’s heritage, we remain confi dent that this will continue ‘Accounting for Pensions’, which reduces reserves to be recognised by the government in the form of future by £23.6m (2005: £20.6m). funding: the Governors and Executive are satisfi ed that the going concern status of the charity remains appropriate. The Restricted funds of £18.1m (2005: £15.3m) represents £16.5m Governors and Executive also recognise that commitment (2005: £15.7m) invested in the BFI’s restricted fi xed assets. to the Southbank project will result in an extremely lean The balance of £1.6m of assets (2005: £0.4m of liabilities) is and diffi cult year, which will show up within the accounts primarily due to £1.3m of capital funding received in the year for 2006/7. but paid out in 2006/7 from the UK Film Council. A summary of restricted fund balances is set out in Note 18.

Top to bottom: Teddy at the Throttle Top to bottom: The Saint (1962), (1917), Pat Garrett & Billy the Kid Barefoot in the Park (1967), (1973), front cover to BFI book In the Mood for Love (2000) The Ultimate Film

26 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 27 Guys and dolls

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 ﬁ nancial statements for the year ended 31 March 2006.

In preparing the annual report and ﬁ nancial 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 ﬁ nancial year and as Governors at the date of signing these accounts are:

Anthony Minghella CBE (Chair) David Kustow (Deputy Chair) (Retired 31 January 2006) Jenny Abramsky, CBE (Retired 31 January 2006) John Akomfrah Tim Angel, OBE Eric Fellner, CBE Peter Foy (Appointed 27 June 2006) Lizzie Francke Stephen Frears Leslie Hardcastle, OBE Terry Ilott (Retired 31 January 2006) Nasreen Munni Kabir (Retired 31 January 2006) Professor Roger Laughton, CBE Caroline Michel Professor Elan Closs Stephens, CBE Peter Watson Shami Chakrabarti (Appointed 27 June 2006) Sam Taylor-Wood (Appointed 27 June 2006)

METHODS OF APPOINTMENT

All Governors are appointed by the BFI Board of Governors, subject to ratiﬁ cation 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 ratiﬁ ed by the UK Film Council but that would not normally be withheld except in matters where there is a conﬂ ict of interest arising.

All Board positions are publicly advertised and fall for re- election every three years, with a total limit of six years service being set in accordance with the BFI Royal Charter. Newly appointed Governors receive a letter of appointment and an induction programme which together covers general responsibilities, committee membership and involvement outside of formal Governors’ meetings. Emphasis is placed on close and regular consultation with Governors individually and collectively.

Main picture: Guys and Dolls (1955); this page top-bottom: Alﬁ e (1966), Boudu Saved from Drowning (1932), King Kong (2005)

28 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 29 The Chair of the Board of Governors is appointed with the ORGANISATIONAL STRUCTURE approval of the Secretary of State for Culture Media and Sport by the Film Council with Governors being appointed by the The Board of Governors delegates specifi c responsibilities Board, subject to ratifi cation by the Film Council. to its Committees. Membership of these Committees is identifi ed below and also comprises offi cers and professional They are men and women with a wide range of experience advisers. Recommendations made by Committees are and interests in fi lm, television, the moving image generally, presented to the Board as a whole for approval. and public service, business and industry. All are part-time non-executives and meet monthly. A brief description of each Committee and its function is given below: The Board of Governors has corporate responsibility for: > Budget and Performance Committee approves capital and > developing the overall strategic direction of the BFI within revenue budgets, sets the BFI’s operational targets, and the policy framework agreed with the Film Council; monitors performance

> ensuring that the BFI as a public service body complies with > Nominations and Appointments Committee makes any statutory or administrative requirements for the use of recommendations to the Board of Governors about public funds and to maximise BFI value for money; appointments to the Board

> ensuring that the BFI acts reasonably and prudently in all > Property Committee manages on-going capital development matters relating to its charity status; projects, considers future options, and recommends preferred options to the Board > appointing the Director and monitoring senior management performance; > Remuneration Committee determines and keeps under review the levels of pay, and the terms and conditions of > ensuring that all BFI properties and assets are protected and service, for the BFI Director and other senior managers effectively utilised in the pursuit of the BFI’s overall mission; > Diversity Committee advises the Board to ensure that the > ensuring commercial activities are self fi nancing and aligned BFI, as a public body, properly serves and refl ects the diverse to the BFI core purpose and that these activities uphold fair audiences within the UK, by delivering its services to meet trading standard requirements; the needs of these different groups with the ultimate aim of recognising and celebrating diversity in all its activities > ensuring that any fund-raising activity carried out on behalf of the BFI is properly undertaken and that all funds collected > Audit and Governance Committee reviews the effectiveness are properly accounted for; of the processes, structures, and controls used to direct, manage and account for the fi nancial and business affairs of > overseeing the delivery of planned results by monitoring the BFI. The Audit and Governance Committee considers all performance against agreed strategic objectives and targets; internal and external audit reports and recommendations

> ensuring that the BFI’s rules for the recruitment and The following committees included the listed Governors management of staff provide for appointment and during the year: advancement on merit on the basis of equal opportunity for all applicants and staff; and BUDGET & PERFORMANCE Terry Ilott, David Kustow, Tim Angel OBE, > ensuring the board operates sound environmental policies Top to bottom: Baadasssss! (2004), Some Lizzie Francke, Peter Watson Top to bottom: Sparrows (1926), and practices in accordance with the approach set out Like it Hot (1959), Sight & Sound front DVD cover for See Britain by Train Vol 2 in the 1990 White Paper ‘This Common Inheritance’, the cover August 2006 feat. George Clooney NOMINATIONS AND APPOINTMENTS (2005), Gypo (2005) Government’s green initiatives and other relevant guidance. Nasreen Munni Kabir, Stephen Frears, Lizzie Francke, David Kustow, Anthony Minghella CBE, Roger Laughton CBE

PROPERTY David Kustow, Eric Fellner CBE, Roger Laughton CBE

30 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 31 REMUNERATION BFI EXECUTIVE Roger Laughton CBE, Leslie Hardcastle OBE, Anthony Minghella CBE The executive team and organisational structure comprises Directors from seven divisions, reporting to the BFI Director: DIVERSITY Nasreen Munni Kabir, David Kustow Amanda Nevill Director Eddie Berg Artistic Director, BFI Southbank (NFT & IMAX) AUDIT & GOVERNANCE Sandra Hebron Artistic Director, Festivals Jenny Abramsky, David Kustow, Roger Laughton CBE, Jill McLaughlin Director of Planning and Resources Elan Closs Stephens CBE, Peter Foy Catharine Pusey Director of BFI Trading Heather Stewart Cultural Programming Director (UK Wide) STATEMENT OF GOVERNORS’ Francesca Vinti Director of Development RESPONSIBILITIES Jeanette Wilkins Finance Director

The Governors are responsible for: The BFI comprises eight divisions:

> keeping proper accounting records which disclose with UK WIDE reasonable accuracy at any time the fi nancial position of the > Archive funds held on trust and to enable them to ensure that the > Library accounts comply with requirements in the Charities Act 1993; > Distribution > Education > establishing and monitoring a system of internal control; and > Partnerships > screenonline > establishing arrangements for safeguarding the assets and for taking reasonable steps for the prevention and detection BFI SOUTHBANK of fraud and corruption. > NFT > IMAX The Governors are required under the Charities Act 1993 to prepare accounts for each fi nancial year that give a true and BFI TRADING fair view of the fi nancial position of the funds held on trust, > fi lm sales in accordance with the Charities Act 1993, Regulation 3 of the > Sight & Sound Charities (Accounts and Reports) Regulations 2005 and the > Publishing trust deed. In preparing those accounts, the Governors are > DVD/Video sales required to: FESTIVALS > select suitable accounting policies and apply COMMUNICATIONS them on a consistent basis; PLANNING & RESOURCES FINANCE > make judgments and estimates which are DEVELOPMENT reasonable and prudent; RELATED PARTIES > state whether applicable accounting standards have been followed, subject to any material departures The BFI operates the UK’s largest cinema screen, disclosed and explained in the accounts; and the BFI London IMAX, through its wholly owned Top to bottom: Happy Endings subsidiary, British Film Institute (Big Screen) Limited. Top to bottom: The Leopard (1963), > prepare the fi nancial statements on a going concern basis. (2005), The Navigator (1924), Lucia (1969), March of the Penguins (2006) Night of Truth (1924) The BFI also conducts some overseas sales of videos The Governors confi rm that they have met the and DVDs through its wholly owned subsidiary responsibilities set out above and complied with the Connoisseur Video Limited. requirements for preparing the accounts. The fi nancial statements set out on pages 23 to 39 attached have been The results of these companies are consolidated into compiled from and are in accordance with the fi nancial the fi nancial statements and are also disclosed in Note records maintained by the Governors. 12 to the accounts. Copies of their accounts are fi led with Companies House. 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.

32 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 33 RISK MANAGEMENT STATEMENT SOLICITORS

As part of the Charity’s risk management process the Kirkpatrick & Lockhart Nicholson Graham LLP Governors acknowledge their responsibility for the Charity’s 110 Cannon Street, London EC4N 6AR system of internal control and reviewing its effectiveness. It is also recognised by the Governors that such a system is Farrer & Co. designed to manage rather than eliminate the risk of failure 66, Lincoln’s Inn Fields, London WC2A 3LH to achieve the Charity’s objectives and can only provide reasonable, not absolute, reassurance against material Allen & Overy LLP misstatement or loss. One, New Change, London EC4M 9QQ

The Governors, through the Executive Directors, have BANKERS set policies on risk and internal controls, which cover the following: Lloyds TSB Bank, 32 Oxford Street, London, W1A 2LD > the responsibility of management to implement the Governors’ policies and identify and evaluate risks Barclays Media Banking Centre, for their consideration on an ongoing basis; 27 Soho Square, London W1D 3QR

> consideration of the type of risks the Charity faces; INTERNAL AUDITORS

> the level of risks which they regard as acceptable; AHL Limited, Chartwell House, 292-294 Hale Lane, > the likelihood of the risks concerned materialising; Edgware, Middlesex, HA8 8NP

> the Charity’s ability to reduce the incidence and impact AUDITORS on the business of risks that do materialise; Deloitte & Touche LLP, London > the costs of operating particular controls relative to the beneﬁ t obtained; and REGISTERED OFFICE

> arrangements for monitoring and reporting on risk and 21 Stephen Street, London W1T 1LN control matters of importance, together with details www.bﬁ .org.uk of corrective action being undertaken.

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 updated and reviewed 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 Audit & Governance Committee annually.

During the year the Governors, through the offi cers of the Top to bottom: Au revoir les Enfants Top to bottom: Un chien Andalou (1928), Audit & Governance Committee, have received reports from (1987), Night of the Hunter (1955), Mirrormask (2004), Il Bidone (1955) the Directors and from the external and internal auditors Black Narcissus (1947) relating to risk and control. The reports have enabled the Governors to satisfy themselves that the above policies are being implemented, that signifi cant weaknesses of control identifi ed are being promptly addressed and on the overall adequacy and effectiveness of the Charity’s system of internal control at the year end.

Approved by the Board of Governors on January 2007.

Governor

34 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 35 Last orders

INDEPENDENT AUDITORS’ REPORT TO THE GOVERNORS OF THE BRITISH FILM INSTITUTE

We have audited the group and charity fi nancial statements of the British Film Institute for the year ended 31 March 2006 which comprise the consolidated statement of fi nancial activities, the consolidated and charity balance sheet, the consolidated cash fl ow statement, the statement of accounting policies and the related notes 1 to 20. These fi nancial statements have been prepared under the accounting policies set out therein.

This report is made solely to the charity’s Governors, as a body, in accordance with Regulation 7 of the Charities (Accounts and Reports) Regulations 2005. Our audit work has been undertaken so that we might state to the charity’s Governors those matters we are required to state to them in an auditors’ report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charity and the charity’s Governors as a body, for our audit work, for this report, or for the opinions we have formed.

RESPECTIVE RESPONSIBILITIES OF GOVERNORS AND AUDITORS

As described in the statement of Governors’ responsibilities, you are responsible as Governors for the preparation of the ﬁ nancial statements, which are required to be prepared in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

We have been appointed as auditors under s43 of the Charities Act 1993 and report in accordance with regulations made under s44 of that Act. Our responsibility is to audit the ﬁ nancial statements in accordance with relevant United Kingdom legal and regulatory requirements and International Standards on Auditing (UK and Ireland).

We report to you our opinion as to whether the ﬁ nancial statements give a true and fair view in accordance with the relevant ﬁ nancial reporting framework and are properly prepared in accordance with the Charities Act 1993, Regulation 3 of the Charities (Accounts and Reports) Regulations 2005 and the trust deed.

We read the Governors’ report and the other information contained in the annual report for the above year as described in the contents section and consider the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the ﬁ nancial statements.

Main picture: Last Orders (2001); The Mad Magician (1954), Les Girls (1957), Paris nous appartient (1961)

36 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 37 Statement of financial activities (including an income and expenditure account)

BASIS OF OPINION YEAR ENDED 31 MARCH 2006 2006 2005 We conducted our audit in accordance with International Unrestricted Restricted Total Total Standards on Auditing (UK and Ireland) issued by the Note £’000 £’000 £’000 £’000 Auditing Practices Board. An audit includes examination, on a test basis, of evidence relevant to the amounts and Incoming resources disclosures in the fi nancial statements. It also includes an Incoming resources from generated funds assessment of the signifi cant estimates and judgements Voluntary Income made in the preparation of the fi nancial statements and Grant-in-aid 4 16,000 0 16,000 16,000 of whether the accounting policies are appropriate to the Other grants, legacies and donations 502 4,982 5,484 2,527 charity’s circumstances of the company and the group, Lottery awards 5 - 50 50 33 consistently applied and adequately disclosed. Donated services 970 - 970 1,240 Investment income 6 157 - 157 154 We planned and performed our audit so as to obtain all Incoming resources from charitable activities the information and explanations which we considered Lifelong learning 3,383 - 3,383 3,591 necessary in order to provide us with suffi cient evidence to Distribution & Exhibition 6,931 - 6,931 7,085 give reasonable assurance that the fi nancial statements are Cinema heritage 1,404 - 1,404 1,439 free from material misstatement, whether caused by fraud Other incoming resources 98 - 98 24 or other irregularity or error. In forming our opinion, we also evaluated the overall adequacy of the presentation of TOTAL INCOMING RESOURCES 29,445 5,032 34,477 32,093 information in the fi nancial statements. Resources expended OPINION Costs of generating funds Costs of generating voluntary income 588 - 588 434 In our opinion: Charitable activities Lifelong learning 8,567 899 9,466 9,261 > the fi nancial statements give a true and fair view of the Distribution & Exhibition 13,290 628 13,918 13,205 group’s and charity’s state of affairs, in accordance with Cinema heritage 7,359 645 8,004 8,055 United Kingdom Generally Accepted Accounting Practice Governance costs 97 - 97 181 as at 31 March 2006 and of its incoming resources and Restructuring costs 343 - 343 1,670 application of resources in the year then ended; Total costs of activities in furtherance of the charity’s objects 30,244 2,172 32,416 32,806

> the ﬁ nancial statements have been properly prepared TOTAL RESOURCES EXPENDED 7,10 30,244 2,172 32,416 32,806 in accordance with the Charities Act 1993, Regulation 3 of the Charities (Accounts and Reports) Regulations 2005 Net (outgoing)/incoming resources before and the trust deed. other recognised gains and losses (799) 2,860 2,061 (713)

Other recognised gains/losses Actuarial losses on deﬁ ned beneﬁ t pension schemes 9 (2,236) - (2,236) (718)

Net movement in funds (3,035) 2,860 (175) (1,431) Deloitte & Touche LLP Chartered Accountants and Registered Auditors Reconciliation of funds London Total funds brought forward 11,937 15,277 27,214 28,645 January 2007 Top to bottom: Kirikou and the Sorceress (1974), Carmen Jones (1953) Rosetta (1999) TOTAL FUNDS CARRIED FORWARD 18 8,902 18,137 27,039 27,214

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.

38 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 39 Consolidated and charity balance sheet Consolidated cash ﬂ ow statement

31 MARCH 2006 YEAR ENDED 31 MARCH 2006 Note Group Group Charity Charity 2006 2005 2006 2005 2006 2005 Note £’000 £’000 £’000 £’000 £’000 £’000 Net cash infl ow from operating activities 2 2,766 147 Fixed assets: Return on investments and servicing of fi nance 3 157 154 Tangible fi xed assets 11 46,375 45,158 46,375 45,158 Capital expenditure and fi nancial investment 3 (2,505) (373) Investments 12 - - 94 96 Increase/(decrease) in cash in the year 418 (72) Total fi xed assets 46,375 45,158 46,469 45,254

Current assets: The accompanying notes form an integral part of this consolidated cash ﬂ ow statement. Stocks & work in progress 13 558 440 541 415 Debtors 14 2,962 3,050 3,529 3,256 Cash at bank and in hand 5,466 5,048 5,041 4,494

Total current assets 8,986 8,538 9,111 8,165

Liabilities: Creditors: amounts falling due within one year 15 (4,717) (5,840) (4,596) (5,516)

Net current assets 4,269 2,698 4,515 2,649

Net assets excluding pension liability 50,644 47,856 50,984 47,903

Deﬁ ned beneﬁ t pension scheme liability 17 (23,605) (20,642) (23,605) (20,642)

NET ASSETS INCLUDING PENSION LIABILITY 27,039 27,214 27,379 27,261

Funds: Restricted income funds 18 18,137 15,277 18,137 15,277 Unrestricted income funds : Unrestricted income funds excluding pensions asset/liability 18 32,507 32,579 32,847 32,626 Pension reserve 18 (23,605) (20,642) (23,605) (20,642) Total unrestricted funds 8,902 11,937 9,242 11,984

TOTAL FUNDS 18 27,039 27,214 27,379 27,261

The accompanying notes form an integral part of this consolidated and charity balance sheet. The governors and directors of the BFI approved these ﬁ nancial statements on

Governor Director

40 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 41 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

1. ACCOUNTING POLICIES TANGIBLE FIXED ASSETS AND DEPRECIATION Expenditure of £1,000 or more on tangible fi xed assets is capitalised and included at cost. The principal accounting policies are summarised below. The accounting policies have been applied consistently throughout the year and the preceding year. Depreciation is provided on all tangible fi xed assets, except freehold land, to write off the cost less estimated residual values over their expected useful economic lives. It is calculated on a straight line basis, except BASIS OF PREPARATION freehold buildings which are on a reducing balance basis, at the following rates: The fi nancial statements of the BFI are prepared under the historical cost convention and in accordance with the Charities Act, the Statement of Recommended Practice (SORP), “Accounting and Reporting by Freehold buildings 2.9-5.3% per annum Charities Statement of Recommended Practice (revised 2005)” and applicable accounting standards. Long leasehold property 2% per annum Furniture, fi ttings and equipment 10-33% per annum GOING CONCERN Motor vehicles 20% per annum The accounts have been prepared on a going concern basis for the reasons set out in the Governors’ report. STOCKS AND WORK IN PROGRESS Stocks and work in progress are valued at the lower of cost and net realisable value. The former consist of goods BASIS OF CONSOLIDATION held for resale and the latter expenditure on book publications and DVD and video development costs carried The statement of fi nancial activities (SOFA) and balance sheet consolidate the fi nancial statements of the forward and written off over the expected commercial life of the individual titles. charity and its subsidiary undertakings. The results of the subsidiaries are consolidated on a line by line basis within the SOFA. A separate Income and Expenditure account has not been presented for the charity, PENSION COSTS as permitted by paragraph 397 of the SORP. The balance sheet and related notes, however, show the assets In preparing the fi nancial statements for the current year, the BFI has adopted the full reporting requirements of FRS17: and liabilities of the Group as well as the Charity. Retirement Benefi ts. For defi ned benefi t pension schemes the amounts charged in resources expended are the current service costs and gains and losses on settlements and curtailments. They are included as part of staff costs. Past service INCOMING RESOURCES costs are recognised immediately in the profi t and loss account if the benefi ts have vested. If the benefi ts have not vested All incoming resources are included in the SOFA when the charity is legally entitled to the income, immediately, the costs are recognised over the period until vesting occurs. The interest cost and the expected return entitlement is virtually certain and the amount can be quantifi ed with reasonable accuracy. on assets are shown as a net amount of other fi nance costs or credits adjacent to interest. Actuarial gains and losses The following specifi c policies apply to categories of income: are recognised in the ‘Other recognised gains and losses’.

Donation of services and facilities: are included in income and expenditure at the value to the charity Defi ned benefi t schemes are funded, with the assets of the scheme held separately from those of the charity, in separate where this can be quantifi ed. trustee-administered funds. Pension scheme assets are measured at fair value and liabilities are measured on an actuarial basis using the projected unit method and discounted at a rate equivalent to the current rate of return on a high-quality Gifts in Kind: are included at the value to the charity where their value is ascertainable. corporate bond of equivalent currency and term to the scheme liabilities. The actuarial valuations are obtained every three years and are updated at each balance sheet date. The resulting defi ned benefi t asset or liability, net of the related Grants & Deferred Income: where related to performance and specifi c deliverables, grants are accounted deferred tax, is presented separately after other net assets on the face of the balance sheet. for as the charity earns the right to consideration by its performance. Where income is received in advance For defi ned contribution schemes the amount charged to the Consolidated Statement of Financial Activities of its recognition it is deferred and included in creditors. Where entitlement occurs before income being in respect of pension costs and other post-retirement benefi ts is the contributions payable in the year. received the income is accrued. Capital grants are accounted for as income as soon as they are receivable. Differences between contributions payable in the year and contributions actually paid are shown as either RESOURCES EXPENDED accruals or prepayments in the balance sheet. All expenditure is accounted for on an accruals basis and has been classifi ed under headings that aggregate OPERATING LEASE TRANSACTIONS all costs related to the category concerned. Where costs cannot be directly attributed to particular headings Payments made under operating leases are charged to the SOFA on a straight line basis as they are incurred. they have been allocated to activities on a basis consistent with use of the resources. Premises overheads have been allocated on a fl oor area basis and other overheads have been allocated on the basis of staff numbers. Fund-raising and publicity costs are those incurred in seeking voluntary contributions and do not FUND ACCOUNTING include the cost of disseminating information in support of charitable activities. Support services costs are Unrestricted funds are available for use at the discretion of the Governors in the furtherance of the general those incurred directly in support of expenditure on the objects of the charity and include the planning and objectives of the BFI and which have not been designated for other purposes. management of development projects. Governance costs comprise all costs identifi ed as wholly or mainly attributable to ensuring the public accountability of the charity and its compliance with regulation. These Restricted funds are funds which are to be used in accordance with specifi c restriction imposed by donors. costs include external and internal audit and governors’ costs. The aim and use of each restricted fund is set out in the notes to the fi nancial statements.

CHARITABLE EXPENDITURE: COLLECTIONS: FILMS ETC FOREIGN CURRENCIES All expenditure on acquiring and improving the national collection of fi lms, television material, Transactions in foreign currencies are recorded at the rate ruling on the date of the transaction. photographic stills, posters, books and other related materials held by the BFI is included in charitable Monetary assets and liabilities are retranslated at the rate of exchange ruling at the balance sheet date. expenditure in the year incurred. In the main this expenditure is of a curatorial or restoration nature and the Trustees are of the opinion that any value attributed to fi xed assets would not be material. TAXATION The Collections also comprise donated material and these items are not susceptible to formal valuation. BFI is a registered charity and as such its income and gains falling within s.505 ICTA 88 or s.256 TCGA 92 A nominal value of £1 has been placed on these collections. are exempt from corporation tax to the extent that they are applied to its charitable objectives. Its subsidiaries have not incurred a tax charge as they gift all profi ts to the BFI. INVESTMENTS Investments in subsidiaries are stated at cost less provision for impairment.

42 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 43 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

2. CASH FLOW STATEMENT 4. RELATED PARTY AND OTHER SIGNIFICANT TRANSACTIONS

2006 2005 Although the UK Film Council is not a related party, being the BFI’s main funder, using resources delegated Reconciliation of changes in resources to net infl ow from operating activities: £’000 £’000 by the Department for Culture, Media and Sports (DCMS), it has been included in this category. During the year the BFI had the following material transactions with the UK Film Council: Net outgoing resources before lottery funding (225) (1,464) Lottery funding 50 33 A) UK FILM COUNCIL GRANT IN AID Net outgoing resources (175) (1,431) 2006 2005 £’000 £’000 Less interest receivable (157) (154) Unrestricted funds 16,000 16,000 Depreciation 1,282 1,412 Restricted funds (included within ‘Other grants’, see Note 18) 3,000 800 Profi t on fi xed asset write offs 6 17 (Increase)/decrease in stocks (118) 54 The balances carried forward at the end of the year are £nil for unrestricted funds and £1,337,000 Decrease/(increase) in debtors 88 (266) for restricted funds (see Note 18). Grant-in-aid is spent in accordance with the funding agreement Decrease in creditors (1,123) (1,360) between the BFI and the UK Film Council and is directed at published UK Film Council objectives: Increase in defi ned benefi t pension scheme liability 2,963 1,875 Extend & improve access to fi lm culture, serving the diverse geographical needs of the UK’s nations Net cash infl ow from operating activities 2,766 147 and regions and recognising the differing needs of rural, suburban and metropolitan locations

3. ANALYSIS OF CASH FLOWS Improve education about the moving image

2006 2005 Support & encourage cultural diversity and social inclusiveness Return on investments and servicing of fi nance £’000 £’000 Interest receivable 157 154 Promote fi lm activity in the nations & regions and ensure that national and regional bodies work in concert towards the Film Council’s goals 2006 2005 Capital expenditure and fi nancial investments £’000 £’000 B) GOVERNORS Purchase of tangible fi xed assets (2,505) (373) (2,505) (373) The Governors neither received nor waived any emoluments during the year (2005 £Nil). Six Governors received reimbursed expenses amounting to £2,239 in the year (2005 £1,016). This primarily represents reimbursed travelling 2006 2005 expenses incurred in attending Governors’ meetings. Payments totalling £Nil (2005 £Nil) were made in the year for a) Reconciliation of net cash fl ow to movement in net funds £’000 £’000 services. There were no other material connected party transactions involving Governors in their personal capacity. Increase/(decrease) in cash in the year 418 (72) Net funds at 1 April 2005 5,048 5,120 The charity has purchased insurance to indemnify the Governors against the consequences of any neglect Net funds at 31 March 2006 5,466 5,048 or default on their part. This amounted to £1,596 (2005: £1,764).

1 April 31 March 5. LOTTERY FUNDED PROJECTS 2005 Cash ﬂ ow 2006 Less b) Analysis of net funds £’000 £’000 £’000 Less lottery Lottery Cash at bank and in hand 5,048 418 5,466 Gross costs lottery monies monies of projects monies b/f received BFI funded received BFI funded 2005/6 Apr 1, 05 2006 2006 2005 2005 £’000 £’000 £’000 £’000 £’000 £’000 Heritage Lottery Fund – Film preservation project 8 - 8 - 33 - Heritage Lottery Fund – Chaplin 47 - 42 5 - - 55 - 50 5 33 -

6. INVESTMENT INCOME

2006 2005 £’000 £’000 Interest receivable 157 154

44 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 45 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

7. TOTA L R ESOURCES E X PEN DED 8. STAFF COSTS (CONTINUED)

Restated Direct Allocated Allocated 2006 2005 2006 2005 Costs Pension costs Support costs Total Total The average number of full time equivalent employees of the BFI during the year was: Number Number £’000 £’000 £’000 £’000 £’000 Costs of generating voluntary income 11 11 Costs of generating voluntary income 588 - - 588 434 Lifelong learning 128 128 Lifelong learning 7,944 706 816 9,466 9,261 Distribution & Exhibition 170 164 Distribution & Exhibition 11,850 1,034 1,034 13,918 13,205 Cinema heritage 119 118 Cinema heritage 6,768 349 887 8,004 8,055 Governance costs 4 4 Cost of support services 4,825 (2,089) (2,736) - - 432 425 Governance costs 97 - - 97 181 Restructuring costs 343 - - 343 1,670 Total resources expended 32,416 - - 32,416 32,806 Age at 31 March 2006 2005 Support services, including staff and other costs, which are allocated across the activities of Director 2006 £’000 £’000 the charity, are shown in the allocated support costs column. The basis of allocation is as follows: A. Nevill 49 125 110

Restated Including bonuses totalling £25,000 (2005: £10,000). A. Nevill became an ordinary member 2006 2005 of the London Pensions Fund Authority pension scheme on 1st January 2004. Nature of cost Allocation basis £’000 £’000 Employers pension contributions for the year amounted to £12,400 (2005: £6,300). IT & Finance support Combination of Head Count and transaction volumes Other senior staff 2006 2005 (based on total income & expenditure) (1,239) (1,123) (including employers’ pension contributions) Number Number Human resources Head count (307) (271) £100,000 – £109,999 1 - Premises and utilities Combination of Floor area and Head Count (525) (515) £90,000 – £99,999 3 - Communication and marketing Direct Spend & weighted staff % (263) (232) £80,000 – £89,999 3 1 Other overheads Combination of time and departmental spend (403) (430) £70,000 – £79,999 8 5 Total support (2,736) (2,571) £60,000 – £69,999 4 8

Pension costs (see Note 9) Head Count (2,089) (1,924) Included in the above are 17 (2005: 12) staff who are ordinary members of the London Pensions Fund Authority pension scheme. 2006 2005 The amount of employers pension contributions attributable to these staff Governance costs £’000 £’000 amounted to £142,167 (2005: £47,380). Audit Fees (60) (55) Legal fees (2) (53) Trustees Costs (3) (1) Corporate planning (32) (72) Total governance (97) (181)

8. STAFF COSTS

Restated 2006 2005 Staff costs consists of: £’000 £’000 Wages & salaries 13,448 13,683 Social security costs 1,072 1,032 Pension costs (see Note 9) 1,543 1,426 16,063 16,141

46 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 47 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

9. PENSIONS 9. PENSIONS (CONTINUED)

The BFI is an admitted body to the London Pensions Fund Authority (LPFA), which provides a defi ned benefi t 2006 2005 pension scheme for its salaried employees. It is a funded scheme and the assets are administered by trustees Analysis of the amount chargeable to resources expended under FRS17 £’000 £’000 and are independent of the BFI. The related costs are assessed in accordance with the advice of professionally Current service cost 1,366 1,249 qualifi ed actuaries.The BFI has accounted in full for pensions benefi ts in 2005/06 under the disclosure requirements Curtailment and settlement 177 177 of FRS17. Therefore as at 31 March 2006, a pension liability of £23,605,000 is disclosed in the BFI balance sheet. Total operating charge 1,543 1,426 For FRS17 disclosure the full valuation at 31 March 2004 has been updated by the actuaries Hymans Robertson to assess the liabilities of the scheme as at 31 March 2006. The most signifi cant actuarial assumptions in this recent valuation are: 2006 2005 Amount debited to other fi nance charges under FRS17 £’000 £’000 2006 2005 2004 Expected return on pension scheme assets 2,341 2,252 % % % Interest on pension scheme liabilities (2,887) (2,755) Per annum Per annum Per annum Net costs (546) (503) Rate of increase in prices 3.1 2.9 2.9 Net revenue account cost 2,089 1,929 Rate of increase in salaries 4.6 4.4 4.4 Rate of increase in pensions in payment 3.1 2.9 2.9 Discount rate 4.9 5.4 5.5 2006 2005 Return on scheme investment: Analysis of amount recognised in the statement of fi nancial activities (SOFA) £’000 £’000 Equities 7.3 7.7 7.7 Actual return less expected return on pension scheme assets 5,264 914 Target Return Funds 6.0 4.8 5.1 Experience losses arising on the scheme liabilities (45) (720) Alternative assets 6.5 5.7 6.5 Changes in assumptions underlying the present value of the scheme liabilities (7,455) (912) Cash 4.6 4.8 4.0 Actuarial loss recognised in SOFA (2,236) (718)

2006 2005 2006 2005 2004 Movement in defi cit during the year £’000 £’000 The BFI share of the net pension liability as at 31 March £’000 £’000 £’000 Defi cit in scheme at beginning of year (20,642) (18,767) Estimated employer assets 40,481 32,630 31,170 Movement in year: Present value of scheme liabilities (61,595) (50,952) (47,555) Current service cost (1,366) (1,249) Present value of unfunded liabilities (see Note 17) (2,491) (2,320) (2,370) Contributions 1,209 630 Net pension defi cit (23,605) (20,642) (18,755) Contributions in respect of Unfunded Benefi ts 153 142 Impact of settlements and curtailments (177) (177) Net return on assets (546) (503) 2006 Asset Actuarial loss (2,236) (718) Assets – Split of Investments by Category £’000 Distribution Defi cit in scheme at end of the year (23,605) (20,642) Assets whole fund % Equities 1,296,100 63% Target return funds 391,600 19% Alternative assets 242,400 12% Cash 126,300 6% Total 2,056,400 100%

2005 Asset 2004 Asset Assets whole fund £’000 Distribution £’000 Distribution % % Equities 1,215,776 79% 1,134,523 81% Bonds 166,489 11% 166,812 12% Property 109,781 7% 80,409 6% Cash 51,696 3% 23,673 2% Total 1,543,742 100% 1,405,417 100%

48 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 49 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

9. PENSIONS (CONTINUED) 12. SUBSIDIARIES

BFI Big Conn. 2006 2005 2006 2005 2004 2003 Screen Video Ltd Total Total History of experience gains and losses £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Difference between the expected Trading Account and actual return on scheme assets 5,264 914 4,070 (10,972) Income 2,254 12 2,266 2,702 value of scheme assets 40,481 32,630 31,170 25,446 Expenditure (2,547) (12) (2,559) (2,750) percentage of scheme assets 13.0% 2.8% 13.1% (43.1%) Net operating loss (293) - (293) (48) Experience gains and losses on scheme liabilities (45) (720) (157) 166 present value of scheme liabilities 64,086 53,272 49,925 44,260 Balance Sheets percentage of the present value of the scheme liabilities (0.1%) (1.4%) (0.3%) 0.4% Stocks and work in progress 17 - 17 24 Total amount recognised in statement Debtors 93 94 187 187 of total recognised gains and losses (2,236) (718) 1,144 (12,122) Cash at bank and in hand 425 - 425 554 present value of scheme liabilities 64,086 53,272 49,925 44,260 Current liabilities (875) - (875) (718) percentage of the present value of the scheme liabilities (3.5%) (1.3%) 2.3% (27.4%) Total (BFI interest) (340) 94 (246) 47 The information for the year ended 31 March 2002 is not available therefore has not been disclosed. Shareholdings in subsidiaries 10. NET RESOURCES The BFI holds 100% of the issued share capital of the following undertakings, which are registered in England and Wales: 2006 2005 Net resources expended before transfers are stated after charging: £’000 £’000 BFI (Big Screen) Ltd Auditors’ remuneration: Connoisseur Video Ltd Audit 59 55 Project Rosebud Ltd (e-commerce development - dormant) Other services 20 - Foreign exchange gains 24 56 Trading subsidiaries are involved in activities wholly consistent with the BFI’s charitable Depreciation 1,282 1,412 aims and objectives and remit taxable profi ts to the BFI under Gift Aid. Their income and Charges for operating leases: expenditure are consolidated into the group fi nancial statements. Plant & Machinery 203 186 Other 108 88 BFI (Big Screen) Limited operates the commercial activities of the BFI London IMAX and the theatrical operations of the IMAX. fi equipment 11. TANGIBLE FIXED ASSETS ttings and Furniture leasehold buildings land and Freehold property vehicles Connoisseur Video Limited comprises the BFI’s video publishing export activity. Motor Long

The investment held by the Charity is summarised as follows: Total 2006 Group and Charity £’000 £’000 £’000 £’000 £’000 £’000 Cost Cost At 1 April 2005 25,555 22,699 10,527 88 58,869 At 1 April 2005 and 31 March 2006 150 Additions 1,494 18 983 10 2,505 Disposals - - (116) - (116) Impairment At 31 March 2006 27,049 22,717 11,394 98 61,258 At 1 April 2005 (54) Charge for the year (2) Depreciation At 31 March 2006 (56) At 1 April 2005 (3,065) (2,449) (8,129) (68) (13,711) Charge for the year (524) (303) (448) (7) (1,282) Net Book Value Disposals - - 110 - 110 At 31 March 2006 94 At 31 March 2006 (3,589) (2,752) (8,467) (75) (14,883) At 31 March 2005 96 Net Book Value At 31 March 2006 23,460 19,965 2,927 23 46,375

At 1 April 2005 22,490 20,250 2,398 20 45,158

There were no assets held on ﬁ nance lease during the year or at the year end. Included within long leashold property is property with a net book value of £15m relating to the BFI London Imax Cinema building. The Arts Council has a legal charge on the property to the value of £15m in respect of original funding for the building costs.

50 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 51 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

13. STOCKS AND WORK IN PROGRESS 17. PROVISIONS FOR LIABILITIES AND CHARGES – GROUP AND CHARITY

Group Group Charity Charity In addition to the amounts payable for current members of the pension scheme (Note 9), within 2006 2005 2006 2005 this scheme the BFI has an unfunded liability to pay pensions to 44 (2005: 44) former employees and £’000 £’000 £’000 £’000 their spouses. The total actuarial valuation for this liability at 31 March 2006 is included in the pension Books and video publishing 378 254 361 229 provision. The anticipated cost falling due in the year to 31 March 2007 of £138,000 is included in the Publications work in progress 43 46 43 46 deﬁ ned beneﬁ t pension scheme liability. Video work in progress 137 140 137 140 A summary of the impact on the SOFA therefore is: 558 440 541 415 2006 2005 2004 14. DEBTORS £’000 £’000 £’000 Release of costs - - 795 Group Group Charity Charity Charge for current year (4,325) (2,647) (553) 2006 2005 2006 2005 Decrease/(increase) in overall pension accrual (4,325) (2,647) 242 £’000 £’000 £’000 £’000 Trade debtors 1,000 1,303 959 1,278 2006 2005 2004 Amount owed by subsidiary undertakings - - 661 393 Pension liability £’000 £’000 £’000 Other debtors 804 870 804 870 Valuation as at 1 April 2005 (20,642) (18,767) (19,609) Prepayments and accrued income 1,158 851 1,105 783 Lottery awards - 26 - 26 Utilised in the year 1,362 767 600 2,962 3,050 3,529 3,350 Net (charge)/credit to SOFA (4,325) (2,642) 242 Net movement in year (2,963) (1,875) 842 15. CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR Valuation as at 31 March 2006 (23,605) (20,642) (18,767)

Group Group Charity Charity Deﬁ ned beneﬁ t pension scheme liability (23,605) (20,642) (18,767) 2006 2005 2006 2005 (23,605) (20,642) (18,767) £’000 £’000 £’000 £’000 Trade creditors (1,009) (1,735) (950) (1,635) Amount owed to subsidiary undertakings - - (94) (94) Other taxes and social security costs (335) (345) (335) (331) Other creditors (311) (351) (222) (207) Accruals (2,797) (3,137) (2,746) (3,080) Deferred income (265) (273) (249) (263) (4,717) (5,840) (4,596) (5,610)

16. DEFERRED INCOME

Group Group Charity Charity 2006 2005 2006 2005 £’000 £’000 £’000 £’000 Balance as at 1st April (273) (119) (263) (119) Amount released to incoming resources 273 108 263 108 Amount deferred in year (265) (262) (249) (252) Balance as at 31st March (265) (273) (249) (263)

52 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 53 Notes to the accounts Notes to the accounts Year ended 31 March 2006 Year ended 31 March 2006

18. STATEMENT OF FUNDS Restricted funds Description TV Grants Archiving services for both Independent Television and the BBC At 1 April At 31 March Digital Test Bed Research into digital projection technology 2005 Income Expenditure Transfers 2006 £’000 £’000 £’000 £’000 £’000 David Lean Foundation Restoration work Unrestricted funds 11,937 29,445 (32,480) - 8,902 NFT Refurbishment Donations Donations specifi cally for the NFT refurbishment Awards for All Community education project Restricted funds Chaplin Foundation Charlie Chaplin archive and research projects Fixed Assets 15,654 - (441) 1,306 16,519 Charitable Activities: Screenonline website Aid development of website TV Grants – recording TV programmes for UK-wide Heritage Lottery Fund Film preservation projects access to moving image materials 189 917 (934) - 172 NIACE Northern Ireland Tourist Board European education workshops TV Grants – as above for Educational purposes 20 96 (96) - 20 LDA – LFF Support for projects associated Digital Test Bed - 100 (100) - - with The Times BFI London Film Festival David Lean Foundation - 10 (10) - - NFT Refurbishment Donations 26 - (26) - - LDA Support for the Southbank capital appeal Screenonline website - 7 (7) - - Arts Council Contempory artists DVD series Awards for All 1 - (1) - - Mediatech project BFI service utilising computer viewing stations, Chaplin Foundation 96 - (45) - 51 which allow users to select and browse fi lms & Heritage Lottery Fund - 8 (8) - - television programmes for viewing on demand Heritage Lottery Fund - 42 - (42) - LFF – Discover Digital A series of lectures aimed at young fi lm makers NIACE 1 - (1) - - on the impact of new digital technologies London Development Authority (LDA) – LFF - 100 (100) - - Arts Council for contemporary artist fi lm & video DVD series 17 20 (4) - 33 UK Film Council Modernisation grant funding, continues into the Arts Council - LFF on Tour - 20 (20) - - next fi nancial year. Arts Council - The Gallery at BFI Southbank - 50 (50) - BFI Southbank Capital appeal BFI Southbank regeneration LFF – Discover Digital - 26 (26) - - NFT General Donations specifi cally for the use of the NFT Mediatheque project - 30 (30) - - UK Film Council – Modernisation grant (731) 1,000 (269) - - UK Film Council – Other - 5 - - 5 UK Film Council Capital Grant - 2,000 - (663) 1,337 Southbank Capital appeal – other donors - 250 - (250) - London Development Authority (LDA) – Southbank capital appeal - 351 - (351) - NFT General 4 - (4) - -

Total restricted funds 15,277 5,032 (2,172) - 18,137 Total funds 27,214 34,477 (34,652) - 27,039

Transfers represent amounts which have been expended on ﬁ xed assets.

2006 2005 Total Total Operating statement – charity only £’000 £’000 Incoming resources 32,223 29,391 Resources expended (32,105) (30,774) Operating surplus/(deﬁ cit) 118 (1,383) Charity only funds brought forward as restated 27,261 28,645 Charity only fund balances carried forward 27,379 27,261

54 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 55 Notes to the accounts The full monty Year ended 31 March 2006

18. STATEMENT OF FUNDS (CONTINUED) The following titles were screened as part Dir. Timothy Neat Centennial summer (1946) of various seasons and retrospectives at The Middle of the World (1974) Danger, Love at Work (1937) the BFI National Film Theatre, distributed Dir. Alain Tanner Die Grosse Liebe (1931) Unrestricted Restricted Total theatrically, released on DVD, or published The Salamander (1971) Dir. Alain Tanner Forever Amber (1947) Fund balances at 31 March 2006 are represented by: £’000 £’000 £’000 The Spectre of Hope (2001) Dir. Paul Carlin Hurry Sundown (1967) Tangible fi xed assets 29,856 16,519 46,375 APRIL 2005 The Three Lives of Lucie Cabrol (1995) In Harm’s Way (1965) Stocks and Work in Progress 558 - 558 OTTO PREMINGER SEASON Dir. Simon McBurney In the Meantime, Darling (1944) Debtors 2,702 260 2,962 Advise and Consent (1961) Ways of Seeing (Parts 1 & 2) (1972) Margin for Error (1943) Cash at Bank and in hand 3,449 2,017 5,466 Anatomy of a Murder (1959) Dir. Mike Dibb Otto Preminger on TV ( 1959/1972/2000) Current assets 6,709 2,277 8,986 Angel Face (1952) Ways of Seeing (Parts 3 & 4) (1972) Rosebud (1975) Current liabilities (4,058) (659) (4,717) Bonjour Tristesse (1957) Dir. Mike Dibb Saint Joan (1957) Income funds excluding pensions asset/liability 32,507 18,137 50,644 Carmen Jones (1954) Skidoo (1968) Long term liabilities (23,605) - (23,605) Daisy Kenyon (1947) OTHER Such Good Friends (1971) Total net assets 8,902 18,137 27,039 Exodus (1960) Close-Up (1989) Dir. Abbas Kiarostami Tell Me That You Love Me, Fallen Angel (1945) Dreams That Money Can Buy + The Real Junie Moon (1969) Restricted funds are committed as directed by the donors. Unrestricted Funds are available to fund revenue Laura (1944) Tuesday Weld (1964) Dir. Hans Richter That Lady in Ermine (1948) initiatives identifi ed during the year and to provide a reserve against unforeseen costs arising. Porgy and Bess (1958) The Big Red One (1980-2004) The Court Martial of Billy Mitchell (1955) River of No Return (1954) Dir. Samuel Fuller The Fan (1949) The Cardinal (1963) The Interpreter (2005) Dir. Sydney Pollack The Human Factor (1979) 2006 2005 The Man with the Golden Arm (1955) The League of Gentlemen’s Apocalypse The Moon Is Blue (1953) Unrestricted Unrestricted (2005) Dir. Steve Bendelack The Thirteenth Letter (1951) Net free reserves £’000 £’000 JOHNNY DEPP SEASON Under Your Spell (1936) Current assets 6,709 8,258 Before Night Falls (2000) MAY 2005 Where the sidewalk Ends (1950) Current liabilities (4,058) (5,183) Dir. Julian Schnabel ABBAS KIAROSTAMI Whirlpool (1950) Net free reserves 2,651 3,075 Dead Man (1996) Dir. Jim Jarmusch 10 (2002) Donnie Brasco (1997) Dir. Mike Newell 10 on Ten (2004) HG WELLS 19. LEASE COMMITMENTS Ed Wood (1994) Dir. Tim Burton A Wedding Suit (1976) HG Wells: A Life in Film At 31 March 2006 the charity had annual commitments in respect Edward Scissorhands (1990) ABC Africa (2001) Island of Lost Souls (1933) of non-cancellable operating leases as set out below: Dir. Tim Burton And Life Goes On... (1991) Dir. Erle C Kenton Land and Land and Fear and Loathing in Las Vegas (1998) Bread and Alley (1970) Kipps (1941) Dir. Carol Reed buildings buildings Other Other Dir. Terry Gilliam Breaktime (1972) La Merveilleuse Viste (1974) 2006 2005 2006 2005 Finding Neverland (2004) Close-Up (1990) Dir. Marcel Carné Leases which expire: £’000 £’000 £’000 £’000 Dir. Marc Forster Colours (1976) Love and Mr Lewisham (1972) Dir. Less than 1 year 53 - 23 10 Pirates of the Caribbean – The Curse of Dinner for One (1996) Christopher Barry Within 2 to 5 years 122 88 145 163 the Black Pearl (2003) Dir. Gore Verbinski Fellow Citizen (1983) The Door in the Wall (1956) Over 5 years - - - - What’s Eating Gilbert Grape? (1993) First Case, Second Case (1979) Dir. Glenn Alvery Jr. Total 175 88 168 173 Dir. Lasse Hallström First-Graders (1984) The History of Mr Polly (1949) Five (2003) Dir. Anthony Pelissier 20. TAX STATUS JOHN BERGER SEASON Homework (1989) The Invisible Man (1933) Dir. James Whale 12 August 2002 (2002) Dir. Milena Trivier How to Make Use of Leisure Time: The Island of Dr Moreau (1977) The BFI is a registered charity and as such is potentially exempt from taxation of A Telling Eye: The Work of John Berger Painting (1977) Dir. Don Taylor its income and gains to the extent that they are applied to its charitable objectives. (1994) Dir. Mike Dibb Orderly or Disorderly (1981) The Man Who Could Work Miracles (1936) It’s subsidiaries’ total taxable profi ts are gifted to the Charity and therefore no tax About Time: Once Upon a Time (1985) So Can I (1975) Dir. Lothar Mendes is payable. Irrecoverable VAT is charged to the cost category to which it relates. Dir. Mike Dibb Solution (1978) The Passionate Friends (1948) Another Way of Telling: Views Ten Minutes Older (2003) Dir. David Lean of Photography (1989) Dir. John Christie The Birth of Light (1997) The Time Machine (1960) Dir. George Pal Crumbling Houses (2003) The Chorus (1982) The Time Machine (2002) Dir. Gianni Celati The Experience (1973) Dir. Simon Wells Drawn from Life (1962) Dir. Mike Wooler The Report (1977) Things to Come (1936) Dir. William Germinal (1983) Dir. Mike Dibb The Taste of Cherry (1997) Cameron Menzies His Name Is Tyler (2001) Dir. Paul Carlin The Traveller (1974) I Send You this Cadmium Red (202) The Wind Will Carry Us (1999) JAMES DEAN Dir. John Christie Through the Olive Trees (1994) East of Eden (1955) Dir. Elia Kazan John Berger in Conversation Toothache (1979) Giant (1956) Dir. George Stevens with Michael Ondaatje (2003) Tribute to the Teachers (1977) James Dean – Forever Young (2005) Jonah Who Will Be 25 in the Year 2000 Two Solutions for One Problem (1975) James Dean – The Iconic Images (1975) Dir. Alain Tanner Where Is the Friend’s House? (1987) of Phil Stern Parting Shots from Animals (1980) Rebel Without a Cause (1955) Dir. Mike Dibb OTTO PREMINGER Dir. Nicholas Ray Pig Earth (1979) Dir. Mike Dibb A Royal Scandal (1945) Play Me Something (1989) Bunny Lake Is Missing (1965)

56 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 57 OTHER NEW FILMS FROM ITALY CRIME SCENE 2005 Brothers (2004) Dir. Susanne Bier The Best of Youth (2002) Alias Kurban Said (2004) Dir. Jos de Putter Inside Deep Throat (2005) Dir. Marco Tullio Giordana Anthony Horowitz and Charlie Higson: Dir. Randy Barbato The Hundred Steps (2000) Writing Thrillers for a Younger Audience Strings (2004) Dir. Marco Tullio Giordana Bullitt (1968) Dir. Peter Yates Dir. Anders Ronnow Klarlund The Gift (2003) Crime Scene Rediscovery: Blast of Silence The Big Red One (1980-2004) Dir. Michelangelo Frammartino (1961) Dir. Allen Baron Dir. Samuel Fuller Carlo Giuliani, A Boy (2002) CSI – Season 5 Finale (2005) The Consequenses of Love (2004) Dir. Francesca Comencini Dir. Quentin Tarantino Dir. Paolo Sorrentino Don Vitaliano – Nothing But a Priest Exploring Violence: Women and Crime The Dam Busters (1955) (2002) Dir. Paolo Pisanelli Je suis un assassin (2004) Dir. Michael Anderson Nanni Moretti Shorts + Italian Animation Dir. Thomas Vincent The Jacket (2005) Dir. John Maybury The Embalmer (2002) Dir. Matteo Garrone Ordo (2004) Tickets (2004) Dir. Ermanno Olmi, I Like to Work (2003) Dir. Laurence Ferreira Barbosa Abbas Kiarostami, Ken Loach Dir. Francesca Comencini Point Blank (1967) Dir. John Boorman Three Step Dancing (2003) Road to Perdition (2002) Dir. Sam Mendes JUNE Dir. Salvatore Mereu Satan Met a Lady (1936) OUSMANE SEMBENE The Spectator (2003) Dir. Paolo Franchi Dir. William Dieterle Black Girl (1964) Private (2004) Dir. Saverio Costanzo The Alzheimer Case (2004) Borom Sarret (1963) Dir. Erik Van Looy Camp de Thiaroye (1988) JANE FONDA The Axe (2005) Dir. Costa-Gavras Ceddo (1976) A Walk on the Wild Side (1962) The CSI Phenomenon Emitaï (1972) Dir. Edward Dmytryk The Grifters (1990) Dir. Stephen Frears Faat Kiné (2001) Barbarella (1968) Dir. Roger Vadim The Maltese Falcon (1931) Guelwaar (1992) Barefoot in the Park (1967) Dir. Gene Saks Dir. John Huston Moolaadé (2004) Julia (1977) Dir. Fred Zinnemann The Maltese Falcon (1931) Niaye (1964) Klute (1971) Dir. Alan J Pakula Dir. Roy del Ruth Sembene: The Making of African Cinema Nine to Five (1980) Dir. Colin Higgins The Outfi t (1973) Dir. John Flynn (1994) Dir. Manthia Diawara The Chase (1965) Dir. Arthur Penn Tauw (1970) The Morning After (1986) ROBERT MITCHUM The Money Order (1968) Dir. Sidney Lumet Angel Face (1952) Dir. Otto Preminger Xala (1974) They Shoot Horses, Don’t They? (1969) Cape Fare (1962) Dir. J Lee Thompson Dir. Sydney Pollack Crossfi re (1947) Dir. Edward Dmytryk Black World TV: Rap & Hip-Hop Tout va bien (1972) Dir. Jean-Luc Godard El Dorado (1966) Dir. Howard Hawks Hip-Hop as a Global Phenomenon Farewell My Lovely (1975) Hip-Hop Culture and the British Invasion OTHER Dir. Dick Richards The Emerging Scene: Hip-Hop Pioneers Baadasssss! (2004) Dir. Mario Van Peebles Mitchum Interviewed Dig! (2003) Dir. Ondi Timoner Out of the Past (1947) MICHELANGELO ANTONIONI Five (2003) Dir. Abbas Kiarostami Dir. Jacques Tourneur Antonioni Shorts (1943-1953) Kung Fu Hustle (2004) Dir. Stephen Chow Pursued (1947) Dir. Raoul Walsh Antonioni Shorts (1978-1997) The Cat Returns (2002) River of No Return (1954) Beyond the Clouds (1995) Dir. Hiroyuki Morita Dir. Otto Preminger Blow Up (1966) The Producers (1968) Dir. Mel Brooks The Big Steal (1949) Dir. Don Siegel Chung Kuo Cina (1972) Unforgivable Blackness: The Rise and Fall The Friends of Eddie Coyle (1973) Cronaca di un amore (1950) of Jack Johnson (2004) Dir. Ken Burns Dir. Peter Yates Documentaries about Antonioni The Locket (1946) Dir. John Brahm I vinti (1952) JULY The Lusty Men (1952) Dir. Nicholas Ray Identifi cation of a Women (1982) OPTRONICA The Night of the Hunter (195) Il grido (1957) Addictive TV: The Eye of the Pilot Dir. Charles Laughton La notte (1961) Big in Japan The Story of GI Joe (1945) La signora senza camelie (1953) DJ Spooky and Rebirth of a Nation + Dir. William Wellman L’av vent ura (1960 ) Exceeda Thunder Road (1958) Dir. Arthur Ripley Le amiche (1955) Karl Bartos Till the End of Time (1946) L’ecl isse (1962) Karl Bartos Lecture: Dir. Edward Dmytryk Michelangelo Antonioni: An Introduction The Interpositions of Media Track of the Cat (1954) Red Desert (1964) Media Remixed Dir. William Wellman The Gaze of Michelangelo (2004) Optronica @ The Spitz Undercurrent (1946) The Oberwald Mystery (1980) Optronica Lab: People Like Us + Dir. Vincente Minnelli The Passenger (1975) The Sancho Plan + Skoltz_Kolgen West of the Pecos (1945) Dir. Edward Killy Zabriskie Point (1970) Optronica on Screen When Strangers Marry (1944) Plaid & Bob Jaroc + The Mellowtrons Dir. William Castle The Best of Mixmasters 2000-2005

Picture: The Full Monty (1997)

58 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 59 NTI* Black World TV: From Soul to Funk Tokyo Godfathers (2003) Dir. Satoshi Kon Les Demoiselles de Rochefort (1967) Woodstock (The Director’s Cut) BILL MURRAY Ian Livingstone: Black World Rough Cuts Voices of a Distant Star (2003) Dir. Jacques Demy (1970/1984) Dir. Michael Wadleigh Broken Flowers (2005) Dir. Jim Jarmusch Lara Went to Hollywood Blacktronica DJ Session Dir. Makoto Shinkai Les Temps qui changent (2004) Ghostbusters (1984) Dir. Ivan Reitman James Newman: Curtis Mayﬁ eld and Stevie Wonder Dir. André Téchiné Black World TV: Jazz Groundhog Day (1993) Dir. Harold Ramis A License to Kill For (concert) ROBERT MITCHUM Les Voleurs (1996) Dir. André Téchiné Black World Rough Cuts Hamlet (2000) Dir. Michael Almereyda Jamie Fristrom: Soul Divas Blood on the Moon (1948) Dir. Robert Wise Ma saison préférée (1993) Blacktronica DJ Session Lost in Translation (2003) The Action Movie Aesthetic Soul to Funk Heaven Knows, Mr Allison (1957) Dir. André Téchiné Jazz Divas Dir. Soﬁ a Coppola Jonathan Smith: L This Is Soul Dir. John Huston Mississippi Mermaid (1969) Louis Armstrong and His All Stars Mad Dog and Glory (1992) ego Star Wars – Brick by Brick His Kind of Women (1951) Dir. François Truffaut Miles Davis Dir. John McNaughton Peter Molyneux: The Trailer OTHER Dir. John Farrow Peau d’âne (1970) Dir. Jacques Demy Thelonious Monk & Coleman Hawkins Rushmore (1999) Dir. Wes Anderson Playing with Games A Day of Magic Home from the Hill (1960) Place Vendôme (1998) Dir. Nicole Garcia Trevor Robinson Stripes (1981) Dir. Ivan Reitman Roger Avary: The Rules of Adaption (live events and screenings) Dir. Vincente Minnelli Repulsion (1965) Dir. Roman Polanski The Life Aquatic with Steve Zissou (2004) The Pitch Antenna Macao (1952) Dir. Josef von Sternberg The Hunger (1983) Dir. Tony Scott OTHER Dir. Wes Anderson Valve: Written All Over Your Face Buster’s Bedroom (1991) Dir. Rebecca Horn (& Nicholas Ray) The Umbrellas of Cherbourg (1965) Dr Strangelove; or, How I Learned To Dear Wendy (2004) Dir. Thomas Man with the Gun (1955) Dir. Jacques Demy Stop Worrying and Love the Bomb (1963) RESFEST 2005 CAROLE LOMBARD Vinterberg Dir. Richard Wilson Time Regained (1999) Dir. Raúl Ruiz Dir. Stanley Kubrick Beck: A Retrospective Bolero (1934) Dir. Wesley Ruggles Der Eintanzer (1978) Dir. Rebecca Horn My Forbidden Past (1951) Tristana (1970) Dir. Luis Buñuel Flesh and the Devil (1926) Cinema Electronica Hands Across the Table (1935) John Fisher presents: 13 Mystical Dir. Robert Stevenson Un Flic (1972) Dir. Jean-Pierre Melville Dir. Clarence Brown Four Seasons of Traktor: A Retrospective Dir. Mitchell Leisen Moments of Magic Rachel and the Stranger (1948) Garbo (2005) Dir. Kevin Brownlow, Late programme additions In Name Only (1939) Dir. John Cromwell La Ferdinanda: Sonata for a Medici villa Dir. Norman Foster MAMA AFRICA Christopher Bird Mike Mills Event Mr and Mrs Smith (1941) (1991) Dir. Rebecca Horn Secret Ceremony (1969) Dir. Joseph Losey A Red Ribbon Around My House (2002) Howl’s Moving Castle (2004) REMIX Project Dir. Alfred Hitchcock Madagascar (2005) Dir. Eric Darnell The Angry Hills (1959) Dir. Robert Aldrich Dir. Portia Rankoane Dir. Hayao Miyazaki RES Course of Action My Man Godfrey (1936) The Escape Artist (1980) The Racket (1951) Dir. John Cromwell About Braids (2002) Lords of Dogtown (2005) RESFEST and the NFT Dir. Gregory La Cava Dir. Caleb Deschanel The Red Pony (1949) Dir. Lewis Milestone Dir. Jacqueline Kalimunda Dir. Catherine Hardwicke RESFEST Feature Film Series No Man of Her Own (1932) The Yakuza (1975) Dir. Sydney Pollack Body Beautiful (2003) No Entry (2005) Dir. Anees Bazmee RESFEST Late Dir. Wesley Ruggles AUGUST Where Danger Lives (1950) Dir. Omelga Mthiyane Pride and Prejudice (2005) Dir. Joe Wright Shorts One Nothing Sacred (1937) MICHAEL POWELL Dir. John Farrow Close Up on Bintou (2001) Rehearsals + Panel Discussion on Images Shorts Three Dir William Wellman 49th Parallel (1941) Dir. Fanta Régina Nacro and Voices of a New Northern Ireland Shorts Two The Princess Comes Across (1936) A Canterbury Tale (1944) Black World TV: Hangtime (2001) Dir. Ngozi Onwurah (2005) Dir. Michael Grigsby Shorts: By Design Dir. William K Howard A Matter of Life and Death (1946) The Caribbean Connection Kounandi (2004) Dir. Apolline Traore Resfest 2005 Shorts: Cut & Paste They Knew What They Wanted (1940) Age of Consent (1969) Calypso and Ska Maangamizi: The Ancient One (2000) The RESFEST Seminar Series Dir. Garson Kanin Contraband (1940) Jamaican Reggae Dir. Martin Mhando OCTOBER Thumbsucker To Be or Not to Be (1942) Gone to Earth (1950) Reggae and the British Connection Madame Broutte (2002) MAE WEST Triple Threat Dir. Ernst Lubitsch I Know Where I’m Going! (1945) The Two-Tone Community Dir. Moussa Sene Absa Belle of the Nineties (1934) UK Premiere: Infamy True Confession (1937) Michael Powell: An Introduction Blacktronica DJ Session Riches (2001) Dir. Ingrid Sinclair Dir. Leo McCarey UK Premiere: Just for Kicks Dir. Wesley Ruggles One of Our Aircraft Is Missing (1942) Black World Rough Cuts Satin Rouge (2002) Dir. Raja Amari Every Day’s a Holiday (1938) Videos That Rock Twentieth Century (1934) Peeping Tom (1960) The Man Who Stole My Mother’s Face Dir. A Edward Sutherland XL Recordings Dir. Howard Hawks The Edge of the World (1937) August Bournonville (2003) Dir. Cathy Henkel Go West, Young Man (1936) XL Recordings: Side A Black Narcissus (1947) Dancing Bournonville The Night of Truth (2004) Dir. Henry Hathaway XL Recordings: Side B CHRISTOPHER DOYLE The Life and Death of Colonel Blimp (1943) Napoli Dir. Fanta Régina Nacro Goin’ to Town (1935) Dir. Alexander Hall 2046 (2004) Dir. Wong Kar-Wai The Red Shoes (1948) Far from Denmark The Sky in Her Eyes (2001) Dir. Ouida Smit I’m No Angel (1933) Dir. Wesley Ruggles LIFE’S A HOLIDAY... Away with Words (1999) The Small Back Room (1949) La Sylphide Klondike Annie (1936) Dir. Raoul Walsh A Propos de Nice (1929) Dir. Jean Vigo Dir. Christopher Doyle The Spy in Black (1939) MASUMURA YASUZO My Little Chickadee (1940) Before Sunrise (1995) Chungking Express (1994) The Tales of Hoffman (1951) OTHER A False Student (1960) Dir. Edward F Cline Dir. Richard Linklater Dir. Wong Kar-Wai The Thief of Bagdad (1940) A Matter of Life and Death A Wife Confesses (1961) Myra Breckinridge (1970) Days and Nights in the Forest (1969) Days of Being Wild ( (1990) (screening at Somerset House) Blind Beast (1969) Dir. Michael Sarne Dir. Satyajit Ray Dir. Wong Kar-Wai JAPANESE ANIMATION: Celebrating The Best Giants and Toys (1958) Night After Night (1932) Dir. Archie Mayo Holiday Camp (1947) Dir. Ken Annakin Fallen Angels (1995) Dir. Wong Kar-Wai MANGA TO MIYAZAKI Kisses (1957) Sex, Drags and Diamond Lil: Husbands (1971) Dir. John Cassavetes Happy Together (1997) Dir. Wong Kar-Wai Kakurenbo (2004) Dir. Shuhei Morita SEPTEMBER Red Angel (1966) Mae West as Author Jaws (1975) Dir. Steven Speilberg Hero (2002) Dir. Zhang Yimou Kiki’s Delivery Service (1989) CATHERINE DENEUVE The Precipice (1958) Sextette (1978) Dir. Ken Hughes Monday Morning (2002) In the Mood for Love (2000) Dir. Hayao Miyazaki 8 Women (2001) Dir. François Ozon The Wife of Seishu Hanaoka (1967) She Done Him Wrong (1933) Dir. Otar Iosseliani Dir. Wong Kar-Wai Millennium Actress (2001) A Strange Place to Meet (1988) Dir. Lowell Sherman Monsieur Hulot’s Hoiday (1952) Last Life in the Universe (2003) Dir. Satoshi Kon Dir. François Dupeyron BOB DYLAN & MARTIN SCORSESE The Heat’s On (1944) Dir. Gregory Ratoff Dir. Jacques Tati Dir. Pen-ek Ratanaruang Paranoia Agent Episodes 1-3 (2004) Belle de Jour (1967) Dir. Luis Buñuel Don’t Look Back (1967) Dir. DA Pennebaker My Summer of Love (2004) Liberty Heights (1999) Dir. Barry Levinson Dir. Satoshi Kon Dancer in the Dark (2000) Masked and Anonymous (2003) Black World TV: The Blues Dir. Pawel Pawlikowski Motel Cactus (1997) Dir. Park Ki-Yong Perfect Blue (1997) Dir. Satoshi Kon Dir. Lars von Trier Dir. Larry Charles I Hear the Blues Smiles of a Summer Night (1955) Noir et blanc (1986) Dir. Claire Devers Princess Mononoke (1997) Généalogies d’un crime (1997) Raúl Ruiz No Direction Home (2005) Nothin’ But the Blues Dir. Ingmar Bergman Psycho ( 1998) Dir. Gus Van Sant Dir. Hayao Miyazaki Hustle (1975) Dir. Robert Aldrich Dir. Martin Scorsese The Blues Keep Comin’ Take Care of Your Scarf, Tatjana (1994) Rabbit-Proof Fence (2002) Dir. Philip Noyce She and Her Cat (1999) Indochine (1992) Dir. Régis Wargnier Pat Garrett & Billy the Kid (1973) Dir. Aki Kaurismäki Temptress Moon (1996) Dir. Chen Kaige Dir. Makoto Shinkai Le Dernier métro (1980) Dir. Sam Peckinpah The Green Ray (1986) Dir. Eric Rohmer That Day on the Beach (1983) Steamboy (2004) Dir. Katsuhiro Otomo Dir. François Truffaut The Last Waltz (1978) Dir. Martin Scorsese The House of Mirth (2000) Dir. Edward Yang

60 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 61 Dir. Terence Davies The Major and the Minor (1942) Visit Palestine (2005) Dir. Kate Barlow Dir. Ernest B Schoedsack Tim Burton’s The Nightmare Before Madame Bovary (1933) They Came to a Ferry (1948) The Seven Year Itch (1955) Son of Kong (1933) Christmas (1993) Dir. Henry Sellick Nana (1926) Dir. Arl Theodor The Spirit of St. Louis (1957) DECEMBER Dir. Ernest B Schoedsack On purge bébé (1931) To Catch a Thief (1955) Witness for the Prosecution (1957) BILLY WILDER The Four Feathers (1929) FACE TO FACE: 3-D AT THE NFT Sur un air de Charleston (1927) Dir. Alfred Hitchcock Avanti! (1972) Dir. Merian C Cooper, Ernest B Dial M for Murder (1954) The Little Match Girl (1928) Tokyo Story (1953) Dir. Yasujiro Ozu ITV50 (CELEBRATION OF 50 YEARS Billy, How Did You Do It? (1992) Schoedsack, Lothar Mendes Dir. Alfred Hitchcock Tire au fl anc (1928) Weekend (1968) Dir. Jean-Luc Godard OF ITV PROGRAMMING) Buddy Buddy (1981) The Last Days of Pompeii (1935) Drums of Tahiti (1953) Dir. William Castle Toni (1935) Y Tu Mamá También (2001) Armchair Theatre Fedora (1979) Dir. Ernest B Schoedsack Fort Ti (1953) Dir. William Castle Tosca (1941) Dir. Alfonso Cuarón Award-winning Documentaries: Irma La Douce (1963) The Lost Squadron (1932) Gorilla at Large (1954) Dir. Harmon Jones Un tournage à la campagne (1994) A Wedding on Saturday + Beauty, Bonny, Kiss Me, Stupid (1964) Dir. George Archainbaud Gun Fury (1953) Dir. Raoul Walsh Dir. Alain Fleischer OTHER Daisy, Violet, Grace and Geoffrey Morton One, Two, Three (1961) The Most Dangerous Game (1932) House of Wax (1953) Dir. André de Toth Une partie de campagne (1936) Broken Flowers (2005) Dir Jim Jarmusch Children’s Programmes Some Like It Hot (1959) Dir. Ernest B Schoedsack, Irving Pichel Inferno (1953) Dir. Roy Ward Baker Une vie sans joie (1924) Saraband (2004) Dir. Ingmar Bergman Coronation Street + Emergency – Ward 10 The Apartment (1960) Jesse James vs the Daltons (1954) Dir. Albert Dieudonné Scenes from a Marriage (1974) Country Matters The Fortune Cookie (1966) 7TH DISABILITY FILM FESTIVAL Dir. William Castle Dir. Ingmar Bergman Crime Drama The Front Page (1974) A Women’s Face + Facial Disgurement Kiss Me Kate (1953) Dir. George Sidney MICHAEL CAINE The Colour of Milk (2004) Dir. Torun Lian From Start-Up to Consolidation The Private Life of Sherlock Holmes (1970) in the Cinema Presentation (1941) Lumber Jack-Rabbit (1954) Alfi e (1966) Dir. Lewis Gilbert The Constant Gardener (2005) – ITV Granada – Creating Programmes Dir. George Cukor Dir. Chuck Jones Batman Begins (2005) Dir. Fernando Meirelles & Formats ITV50 Back to Bombay (2005) Dir. Rosa Rogers Man in the Dark (1953) Dir. Lew Landers Dir. Christopher Nolan Wallace & Gromit: The Curse of the ITV Broadcast A London Weekend Show Betvveen (2005) Dir. David Cangardel Miss Sadi Thompson (1953) Billion Dollar Brian (1967) Dir. Ken Russell Were-Rabbit (2005) Dir. Steve Box – Commissioning & Scheduling on Skinheads (1979) Creativity Towards Change Dir. Curtis Bernhardt Educating Rita (1983) Dir. Lewis Gilbert ITV50 Bloody Sunday (2002) Dancer (2004) Dir. KR (aka Keyaar) Pardon My Backfi re (1953) Dir. Jules White Funeral In Berlin (1966) Dir. Guy Hamilton NOVEMBER Personality Comedy Brideshead Revisited (1981) Derek Jarman: Life As Art Spooks (1953) Dir. Jules White Get Carter (1971) Dir. Mike Hodges MIKE LEIGH Popular Sitcoms Crime Drama: The Sweeney + Minder Edelweiss Pirates (2004) The Charge at Feather River ( 1953) Hannah and Her Sisters (1986) A Sense of History (1992) Sixties Spies: Danger Man + Callan Disappearing World Dir. Niko von Glasgow Dir. Gordon Douglas Dir. Woody Allen Abigail’s Party (1977) Spectacular Entertainment Shows Goodnight Mister Tom (1998) Königskinder (2001) Dir. Lutz Gregor The Mad Magician (1954) Dir. John Brahm Last Orders (2001) Dir. Fred Schepisi All or Nothing (2002) The Arrival of Itv Harry’s Game (1982) Murderball (2005) Dir. Henry Alex Rubin, The Nebraskan (1953) Dir. Fred Sears Mona Lisa (1986) Dir. Neil Jordan Bleak Moments (1971) The Naked Civil Servant Hello Dali! + Francis Bacon Dana Adam Shapiro The Stranger Wore a Gun (1953) Pulp (1972) Dir. Mike Hodges Career Girls (1997) The Saint + The Avengers ITN50 Nectar (2005) Dir Liz Crow Dir. André de Toth Sleuth (1972) Dir. Joseph L. Mankiewicz Four Days in July (1985) The Tribe That Hides from Man ITV Futures - Debate The Cider House Rules (2000) Grown-Ups (1980) This Week and ITV Current Affairs ITV Music: The Smiths + The Stone Roses MARY PICKFORD OTHER Dir. Lasse Hallström Hard Labour (1973) Two by Harold Pinter: The over + ITV News Behind The Scenes (1914) Antenna The Ipcress File (1965) Dir. Sidney J Furie High Hopes (1998) The Collection Made In Britain (1983) Dir. James Kirkwood Dial H-I-S-T-O-R-Y + Art, Film The Italian Job (1969) Dir. Peter collinson Home Sweet Home (1982) Prime Suspect (1991) Dorothy Vernon of Haddon Hall (1924) and Terrorism Discussion (1997) Dir. The Man Who Would Be King (1975) Life Is Sweet (1990) JULIE ANDREWS Rebus: The Falls (2005) Dir. Marshall Neilan Johan Grimonprez Dir. John Huston Meantime (1983) 10 (1979) Dir. Blake Edwards Dir. Matthew Evans Sparrows (1926) Dir. William Beaudine Hells Is a City (1959) Dir. Val Guest The Quiet American (2002) Mike Leigh in Conversation Darling Lili (1970) Dir. Blake Edwards Seven Up! With Michael Apted The Little American (1971) Lumière + Robin Guthrie Live Dir. Phillip Noyce Naked (1993) Dust for One (1986) Sharpe’s Eagle (1993) Dir. Cecil B DeMille Missing Believed Wiped 2005 - Zulu (1964) Dir. Cy Endfi eld Nuts in May (1976) Dir. Andrei Konchalovsky Spitting Image Programme One: Drama Secrets & Lies (1996) Mary Poppins (1964) Dir. Robert Stevenson Surreal Comedy PETER JACKSON Missing Believed Wiped 2005 - CUBAN CINEMA The Five Minute Films (1975) S.O.B. (1981) Dir. Blake Edwards The Knowledge (1979) Bad Taste (1987) Programme Two: Miscellany 4,000 ninos (1980) Dir. Fernando Pérez The Kiss of Death (1977) Star! (1968) Dir. Robert Wise Upstairs Downstairs Revisited Brainded (1992) Cuban Cinema: A Round-Table Discussion The Permissive Society (1975) That’s Life (1986) Dir. Blake Edwards Who Bombed Birmingham? (1990) Forgotten Silver (1995) JANUARY 2006 Cuban Cinema: An Introduction The Short and Curlies (1987) The Americanization of Emily (1964) Heavenly Creatures (1994) JEAN RENOIR Death of a Bureaucrat (1966) Topsy-Turvy (1999) Dir. Arthur Hiller MERIAN C COOPER King Kong (2005) Boudu Saved from Drowning (1932) Dir. Tomás Gutiérrez Alea Vera Drake (2004) The Sound of Music (1965) Becky Sharp (1935) Meet the Feebles (1989) Chotard et cie (1932) Estetica + Vecinos (1985) Who’s Who (1979) Dir. Robert Wise Dir. Rouben Mamoulian The Frighteners (1996) Jean Renoir (1995) Dir. David Thompson Dir. Enrique Colina Thoroughly Modern Millie (1967) Chang (1927) Dir. Merian C Cooper, The Lord of the Rings: Jean Renoir: An Introduction Female Is My Soul (2000) Dir. Lizette Vila BILLY WILDER Dir. George Roy Hill Ernest B Schoedsack The Fellowship of the Ring (2001) La Bête humaine (1938) Hasta la victoria siempre (1967) A Foreign Affair (1948) Victor/Victoria (1982) Dir. Blake Edwards Flying Down to Rio ( 1933) The Lord of the Rings: La Chienne (1931) Dir. Santiago Alvarez Ace in the Hole (1951) Dir. Thornton Freeland The Return of the King (2003) La Direction d’acteur par Jean Renoir Historia de una descarga (1981) Double Indemnity (1944) OTHER Fort Apache (1948) Dir. John Ford The Lord of the Rings: (1968) Dir. Gisèle Braunberger Dir. Melchor Casals Five Graves to Cairo (1943) 7th Disability Film Festival Opening Grass: A Nation’s Battle for Life (1925) The Two Towers (2002) La Fille de l’eau (1924) Ire a Santiago (1964) Dir. Sara Gómez Love in the Afternoon (1957) Night: Dancer (2004) Dir. KR Dir. Merian C Cooper, Ernest B Schoedsack La Grande illusion (1937) La bella del Alhambra (1989) Mauvaise Graine (1933) Archive Cricket Evening I’m King Kong! – The Expoloits of Merian MOVIE MAGIC: SEASONAL FAVOURITES La Marseillaise (1937) Dir. Enrique Pineda Barnet People on Sunday (1930) Breaking the Silence: Truth and Lies C Cooper (2005) Dir. Kevin Brownlow, The Wizard of Oz (1939) La Nuit du carrefour (1932) La vida es silbar (1999) Portrait of a ‘60% Perfect Man (1980) in the War on Terror + Year Zero: Christopher Bird Dir. Victor Fleming La Règle du jeu (1939) Dir. Fernando Pérez Sabrina (1954) The Silent Death of Cambodia King Kong (1933) Dir. Merian C Cooper, Tim Burton’s Corpse Bride (2005) La Vie est à nous (1936) Lista de espera (2000) Stalag 17 (1953) John Pilger in conversation Ernest B Schoedsack Dir. Tim Burton, Mike Johnson Le Bled (1929) Dir. Juan Carlos Tabío Sunset Blvd. (1950) Kes (1969) Dir. Ken Loach La Cucuracha (1934) Dir. Lloyd Corrigan Le Crime de Monsieur Lange (1936) Lucía (1968) Dir. Humberto Solás The Emperor Waltz (1948) Kitty - Return to Auschwitz Little Women (1933) Dir. George Cukor Le Tournoi dans la cité (1928) Madagasgar (1994) Dir. Fernando Pérez The Lost Weekend (1945) Lawrence of Arabia (1962) Dir. David Lean Mighty Joe Young (1949) Les Bas-fonds (1936) Maria Antonia (1990) Dir. Sergio Giral

62 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 63 Memories of Underdevelopment (1968) Dir. Keaton, Eddie Cline Trelew (2004) Dir. Mariana Arruti Citizen Kane (1941) Dir. Orson Welles Dir. Edward M Sedgwick The Mysterians (1957) Dir. Ishiro Honda Dir. Tomás Gutiérrez Alea The Navigator (1924) Decalogue 1 & 2 (1988) Spite Marriage (1929) (complementary release) Nada (2001) Dir. Juan Carlos Cremata Dir. Keaton, Donald Crisp PAVEL JURÁCEK Decalogue 3 & 4 (1988) Dir. Edward M Sedgwick The Night of Truth (2004) Now (1965) Dir. Lena Horne The Onset of Maturity A Case for the Young Hangman (1969) Decalogue 5 & 6 (1988) Steamboat Bill, Jr (1928) Dir. Fanta Régina Nacro Omara (1978) Dir. Fernando Pérez The Paleface (1921) Every Young Man (1965) Decalogue 7 & 8 (1988) Dir. Charles F Reisner Rebel Without a Cause (1955) One Way or Another (1974) Dir. Keaton, Eddie Cline Josef Kilián (1963) Decalogue 9 & 10 (1988) The Cameraman (1928) Dir. Nicholas Ray Dir. Sara Gómez The Play House + The Boat (1921) No Laughing Matter (1966) Intimate Lighting (1965) Dir. Ivan Passer Dir. Edward M Sedgwick The River (1951) Dir. Jean Renoir Oración (1983) Dir. Marisol Trujillo Dir. Keaton, Eddie Cline Dir. Hynek Bocan Ivan’s Childhood (1962) The Frozen North + The Ballonatic (1922) Sweet Sweetback’s Baadasssss Song (1971) Papeles Secundarios (1989) The Saphead (1920) Dir. Herbert Blaché The Dynamite Watcher + Black and White Dir. Andrei Tarkovsky Dir. Keaton, Eddie Cline Dir. Melvin Van Peebles (complementary Dir. Orlando Rojas The Scare Crow + Neighbours (1920) Sylva + Ceiling )1960-61) Kes (1969) Dir. Ken Loach The Love Nest (1923) Dir. Keaton release) Plaff, o demasiado mieda a la vida (1989) Dir. Keaton, Eddie Cline The End of August at the Hotel Ozone La Strada (1954) Dir. Federico Fellini The Passionate Plumber (1932) Dir. Juan Carlos Tabío Three Ages (1923) Dir. Keaton, Eddie Cline (1966) Dir. Jan Schmidt Musicians (1960) Dir. Kazimierz Karabasz Dir. Edward M Sedgwick Titles released by the BFI on DVD Por primera vez (1967) To Holloywood with Arbuckle (1918) The Jester’s Tale (1964) Dir. Karel Zeman No End (1984) What! No Beer? (1933) during the year Dir. Octavio Cortazar Dir. Roscoe Arbuckle The Key to Determining Dwarfs, or the The 400 Blows (1959) Dir. Edward M Sedgwick Portrait of Teresa (1979) Dir. Pastor Vega Last Voyage of Lemuel Gulliver (2003) Dir. François Truffaut People on Sunday (1929) Que bueno canto usted (1973) JEAN RENOIR Dir. Martin Sulik The Double Life of Véronique (1991) KAY KENDALL Dirs. Robert Siodmak, Edgar G Ulmer Dir. Sergio Giral Eléna et les hommes (1956) Voyage to the End of the Universe (1963) The Kid (1921) Dir. Charles Chaplin Genevieve (1953) Dir. Henry Cornelius Tristana (1970) Dir. Luis Buñuel Reina y rey (1994) French Cancan (1955) Dir. Jindrich Polák The Pram (1963) Dir. Bo Widerberg Les Girls (1957) Dir. George Cukor Gallivant (1996) Dir. Andrew Kötting Dir. Julio García Espinosa Le Caporal épingle (1962) The Scar (1976) Simon and Laura (1955) Dir. Muriel Box London (1993) Dir. Patrick Keiller Se permuta (1983) Dir. Juan Carlos Tabío Le Déjuner sur l’herbe (1959) BRITISH ANIMATION AWARDS Three Colours Blue (1993) The Constant Husband (1954) Robinson in Space (1997) Strawberry and Chocolate (1994) Le Petit théatre de Jean Renoir (1971) Belleville Rendezvous (2003) Three Colours Red (1994) Dir. Sidney Gilliat Dir. Patrick Keiller Dir. Tomás Gutiérrez Alea Le Testament du Docteur Cordelier (1959) Dir. Sylvain Chomet Three Colours White (1993) The Reluctant Debutante (1958) Electric Edwardians The Films Suite Havana (2003) Dir. Fernando Pérez Salute to France (1946) Kirikou and the Wild Animals (2005) Dir. Vincente Minelli of Mitchell & Kenyon (1900-1906) Tales from Havana (1993) Swamp Water (1941) Dir. Benedicte Galup, Michel Ocelot GRIGORI KOZINTSEV Dirs. Sagar Mitchell, James Kenyon Dir. Alexandra Anderson The Diary of a Chambermaid (1946) Raining Cats and Frogs (2003) & LEONID TRAUBERG OTHER The Mahabharata (1989) Dir. Peter Brook The Last Supper (1976) The Golden Coach (1953) Dir. Jacques-Rémy Girerd Alone (1931) Army In the Shadows (1969) On and off the Rails – The British Dir. Tomás Gutiérrez Alea The River (1951) Tim Burton’s Corpse Bride (2005) Don Quixote (1957) Dir. Jean-Pierre Melville Transport Film Collection Vol 1 Una foto recorre el mundo (1983) The Southerner (1945) Dir. Tim Burton Hamlet (1964) Birds Eye View festival (1951-1980) Dir. Various Dir. Pedro Chaskel This Land Is Mine (1943) Wallace & Gromit: King Lear (1971) Devils on the Doorstep (2000) Geoffrey Jones: The Rhythm of Film Viva Cuba (2005) Dir. Juan Carlos Cremata Woman on the Beach (1947) The Curse of the Were-Rabbit (2005) Kozintsev & Trauberg: An Introduction Dir. Jiang Wen (1958-1980) Dir. Steve Box, Nick Park The Devil’s Wheel (1926) Early American Computer Animation Looking for Langston (1988) OTHER JEAN-PIERRE & LUC DARDENNE The New Babylon (1929) Early British Computer-Generated Dir. Isaac Julien A Cock and Bull Story (2005) Falsch (1987) OTHER The Overcoat (1926) Art Film The Bad Sleep Well (1960) Dir. Michael Winterbottom Je pense à vous (1992) Antenna The Return of Maxim (1937) Shooting Dogs (2005) Dir. Akira Kurosawa Breakfast on Pluto (2005) Dir. Neil Jordan L’Enfant (20 05) Beautiful Thing (1996) The Vyborg Side (1939) Dir. Michael Caton-Jones Drunken Angel (1948) Friends and Crocodiles (2005) La Promesse (1996) Dir. Hettie MacDonald The Youth of Maxim (1934) Silent Britain (2005) Dir. David Thompson Dir. Akira Kurosawa Dir. Stephen Poliakoff Le Fils (2002) Breakfast at Tiffany’s (1961) The River (1951) Dir. Jean Renoir Il Bidone (1955) Dir. Federico Fellini Gideon’s Daughter (2005) Militancy Remembered Dir. Blake Edwards American Structural Film The Squid and the Whale (2005) Burning an Illusion (1981) Dir. Stephen Poliakoff Reaching Out to the People Brief Encounter (1945) Dir. David Lean Deﬁ ning Space Dir. Noah Baumbach Dir. Menelik Shabazz Rosetta (1999) Capote (2005) Dir. Bennett Miller Serial Film The Three Burials of Melquaides Estrada Early Cinema: Primitives and Pioneers FEBRUARY Starting Afresh Casablanca (1942) Dir. Michael Curtiz The American Flicker Film (2005) Dir. Tommy Lee Jones (1895-1910) Dir. Various BUSTER KEATON Fire (1996) Dir. Deepa Mehta The Weather Man (2005) Danger, Love at Work (1937) Baggling Butler (1926) SHEFFIELD INTERNATIONAL Free Cinema: BUSTER KEATON Dir. Gore Verbinski Dir. Otto Preminger Buster Keaton – A Hard Act to Follow DOCUMENTARY FESTIVAL ON TOUR 50th Anniversary Celebration A Funny Thing Happened on the Way to Tsotsi (2005) Dir. Gavin Hood What Price Glory (1952) Dir. John Ford (1987) Prod. Kevin Brownlow, David Gill Avenge But One of My Two Eyes (2005) Grizzly Man (2005) Dir. Werner Herzog the Forum (1966) Dir. Richard Lester Pressure (1975) Dir. Horace Ové Convict 13 (1920) Dir. Keaton, Eddie Cline Dir. Avi Mograbi In cold Blood (1967) Dir. Richard Brooks College (1927) Dir. James W Horne Titles released theatrically during Baldwin’s Nigger (1969) Dir. Horace Ové Cops + My Wife’s Relations (1922) Enron: The Smartest Guys in the Room Kinoautomat: One Man and His House Daydreams + The Electric House (1922) the year by BFI Distribution Highway Patrolman (1991) Dir. Alex Cox Dir. Keaton, Eddie Cline (2004) Dir. Alex Gibney (1967) Dir. Raduz Cincera Dir. Keaton, Eddie Cline Three Businessmen (1998) Dir. Alex Cox Go West (1925) Frozen Angels (2005) Dir. Eric Black Pavee Lackeen (2005) Dir. Perry Ogden Doughboys (1930) Dir. Edward M Sedgwick Anatomy of a Murder (1959) Straight to Hell (1987) Dir. Alex Cox Hard Luck + The Goat (1921) Homemade Hillbilly Jam (2005) The World’s Fastest Indian (2005) Free and Easy (1930) Dir. Otto Preminger Death and the Compass (1996) Dir. Keaton, Eddie Cline Dir. Rick Minnich Dir. Roger Donaldson Dir. Edward M Sedgwick Army in the Shadows (1969) Dir. Alex Cox New York Beginnings (1917) Last Men Standing (2005) Palooka from Paducah (1935) Dir. Jean-Pierre Melville Baadasssss! (2003) Dir. Mario Van Peebles Dir. Roscoe Arbuckle Dir. Sasha Maja Djurkovic MARCH Dir. Charles Lamont Baadasssss! (2003) Dir. Mario Van Peebles Sweet Sweetback’s Baadasssss Song (1971) Our Hospitality (1923) Oona & Me (2005) Dir. Nora Meyer KRZYSZTOF KIESLOWSKI Parlor, Bedroom, and Bath (1931) Black Narcissus (1946) Dir. Michael Powell Dir. Melvin Van Peebles Dir. Keaton, Jack Blystone Pucker Up: The Fine Art of Whistling A Man Escaped (1956) Dir. Robert Bresson Dir. Edward M Sedgwick and Emeric Pressburger See Britain by Train – The British Seven Chances (1925) (2005) Dir. Kate Davis A Short Film About Killing (1988) Sidewalks of New York (1931) Black Orpheus (1958) Dir. Marcel Camus Transport Films Collection Vol Two Sherlock Jr (1923) The 3 Rooms of Melancholia (2004) A Short Film About Love (1988) Dir. Jules White L’Ecl isse (1962) (1952-1966) Dir. Various The Blacksmith (1922) Dir. Pirjo Honkasalo Au revoir les enfants (1988) So Funy It Hurt – Buster Keaton at MGM Dir. Michelangelo Antonioni Classic Kurosawa box-set – Stray Dog, Dir. Keaton, Mal St Clair The Armwrestler from Solitude (2004) Dir. Louis Malle (2004) Dir. Kevin Brownlow, Fate (2002) Dir. Zeki Demirkubuz Ikiru, I Live in Fear, Throne of Blood, Red The General (1926) Dir. Helen Ahlsson, Lisa Munthe Blind Chance (1982) Chrisopher Birt Five (2003) Dir. Abbas Kiarostami Beard (1949-1965) Dir. Akira Kurosawa The Haunted House (1921) Things (2004) Dir. Marta Hrubá Camera Buff (1979) Speak Easily (1932) Godzilla (1954) Dir. Ishiro Honda Charlie Chaplin – The Mutual Films

64 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 65 Volume 2 (1916-17) Dir. Charlie Chaplin Film titles from The Times The Corridor The Hours Go By Conversation Songbird The Mysterians (1957) Dir. Ishiro Honda BFI 49th London Film Festival Creep How To Fix The World Mouse Heaven The Soup, One Morning Godzilla (1954) Dir. Ishiro Honda Crossing The Bridge: The Sound Of The Hussar Of Death Mrs Henderson Presents The Space Between Free Cinema box set (1956-1963) 13 Lakes Istanbul Hustle And Flow Murderball Spam-ku: I Won A Haiku Contest About Dir. Various 15 Park Avenue Cutting Edge I Saw Ben Barka Get Killed Nausea Spam Master of the House (1925) 2 Girls Dark Horse I Turn My Face To The Forest Floor Neptune’s Release: A Shot In The Dark Special People Dir. Carl Theodor Dreyer 3 Needles Dating Ray Fenwick I’m The Angel Of Death - Pusher III New York Doll Specialized Technicians Required: Being Ordet (1955) Dir. Carl Theodor Dreyer A Travers La Foret Days And Hours If You Were Me 2 News From Afar Luis Porcar Visions of Light: About Love The Death Of Mister Lazarescu In Orange Nostalgia (April 2001 To Present) Spying Cam The Art of Cinematography (1992) After Delwende Ingrid, Palle And The Sounds Not Really Ours Stalk Dir. Arnold Glassman After The Night...dawn Derailroaded Instructions For A Light And Sound Of Love And Eggs Stationary Music After The Rainy Day Dog Tired Machine Los Olvidados Stolen Eyes Book titles published by the BFI Almost Brothers The Doings Of The Hippopotamus Family- Isolated Once You Are Born Stolen Life during the year Amal the Fat Fish Iwm Footage Oskar & Josefi ne Stoned American Madness Dormouse Jerry The Troublesome Tyke Out Of Time Stranded TV CLASSICS Angels Of Sin Dreaming Of Space Jerry The Troublesome Tyke Overlord Sud Express Dr. Who Antarmahal: Views Of The Inner Chamber Eating Jerry The Troublesome Tyke: Honesty Is Ox Hide Symbiopsychotaxiplasm: Take 2 1/2 The Offi ce Antlion Election The Best Policy The Passenger Symbiopsychotaxiplasm: Take One Buffy the Vampire Slayer Ashes Elizabethtown The Journey Pavee Lackeen Sympathy For Lady Vengeance Our Friends in the North Autobiographical Scene Number 6882 Energy Country Journey To The Other Side Peace And Quiet Takeshis’ Backstage L’enfant Kalamandalam Ramankutty Nair Peacock Tale Of Cinema FILM CLASSICS Badgered Entre Ses Mains Keane Perfect Day Tapas Modern Times Ballerina Frog Estamira Kekexili: Mountain Patrol A Perfect Day Ten Skies Los Olvidados Based On A True Story Eva Kilometre Zero The Piano Tuner Of Earthquakes Terrace 49 On the Waterfront Be Here To Love Me: A Film About Townes Everything Is Illuminated The King Pirate They Came Back Fear Eats the Soul Van Zandt Factotum The Kiss The Plane/ L’avion This Charming Girl Vampyr The Beast In The Heart Fallen Kiss Kiss, Bang Bang Portrait Of A Lady Far Away Three Times Bee Season Fallen Art The Last Knit The Power / Touche Par La Grace Time Has Come MODERN CLASSICS Between Showers A Farewell To Arms Legal Errorist Profi les Of Farmers: Daily Life Time To Leave Bombay Beyond The Rocks The Fearless Freaks Lemming Proof Trilogy About Clouds The Big Empty Feeder Lena The Property Man Troublegum/ Der Kauboy SCREEN GUIDES Black Sun A Film Johnnie Let Me Count The Ways: Minus 10. 9, 8, 7 The Proposition Trouville 100 Bollywood Films The Bleeding Heart Of It / L’eclat Du Mal Film Noir Lightman Quo Vadis Baby? Tuned 100 Anime Blood And Bones The Fish With A Smile Linda, Linda, Linda Rabbit Twist Of Faith Blood Rain The Flyer Little Jerusalem Rabbit Pix The Two Minutes To Zero Trilogy FILM MAKERS Blue Pole(S) For Interieur Little Pig Is Flying Recycle U-carmen Ekhayelitsha The Cinema of Michael Powell Bluebird For The Living And The Dead Living In A Falcon Regular Lovers Ultranova Mizoguchi and Japan Boy Called Twist For Them Ending Lonesome Jim Respire The Undertaker David Lynch: Second Edition The Brothers Grimm Forty Shades Of Blue Look At Me I’m Beautiful Resurrection Unicode Bubble The Foster Son Look For Me Riviera Unknown White Male FILM CRITICISM Burnt Out Friday Or Another Day Lord Of The Flies Rize Ushpizin Theorising National Cinema Can’t Stop Breathing Fucking 14 Love Sacred Heart Vent Bringing up Daddy Capitulation Project Fugue Love + Hate Sangre Violent Days Thinking in Images Carousel The Future Is Behind You Lower City Saratan Viva Cuba Spectre of Sound Cave Of The Yellow Dog Geminis The Magic Lion Sea Change Waiting Fashioning Film Stars Chasmic Dance The Girl From Monday Major Dundee The Sentimental Bloke Waiting For Movement The Chihuahua Messiah Gisela Man Push Cart Separate Lies Wake Up Arezoo BRITISH AND IRISH FILM La China Good Girl Man Seeking Man Sergeant Pepper Walk The Line AND TELEVISION Chohon: Calling Back The Spirit Good Night, And Good Luck. Manderlay Sex And Philosophy Way Of The Flounder Ultimate Film Choked Grand Luncheonette Manslaughter Shanghai Dreams The Wayward Cloud Christmas Merry Gravehopping March Of The Penguins Shark In The Head The Wendell Baker Story ACADEMIC The Chronicles Of The Grey House The Great Art Of Knowing Mario’s War Shin Sung-il Is Lost What’s New At Garet? British Cinema Chyenne The Great Silence (Aka The Big Silence) Marriage The Shoes Where The Truth Lies Hollywood Studio System Cinema, Aspirins And Vultures Green Bush Mary Sholay Who I Am And What I Want Tele-Visions Citizen Dog Heading South The Mascot Shooting Dogs Wild Boy Television Sitcom The City Of The Sun Hell The Matador Shopgirl The Wind Blows Round A Cock And Bull Story Hibernation The Mechanicals Sisters In Law A Woman In Winter Community Property Hidden Milk/ Milch The Sky Turns Workingman’s Death Coney Island, 1945 The Hillers La Mirador The Snail Wrong Side Up The Connection His Prehistoric Past Mirrormask Something Like Happiness X-mass The Constant Gardener Holiday The Moon And The Son: An Imagined Song Of Songs You Are Such A Blindfold

66 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 67 You Don’t Bring Me Flowers Dirtyglitter 1: Damien Lonesome Cowboys Seafood You 2 Alexander Nevsky You’re Gonna Miss Me The DL Chronicles: Episode Wes The Long Firm Search For The Yoyo Gang Alfalfa Youngster Dreaming is for Moonrise Looking For Langston Searching for the Fourth River Zero Degrees of Separation Alfi e Zero Degree Drive Me Crazy The Love Show Secret Picnic Alfreton Carnival Zozo The Dykes of Hazzard Man Seeking Man Seeing You In Circles An example of the many fi lm titles held in the Alice Doesn’t Live Here Anymore Electric at the Cosmic Age Lodge Many People Many Desires Sévigné BFI National Archive that were requested for Alice In The Cities Film Titles from the 20th London Lesbian Eleven Men Out Martin Sex and Cloister theatrical and non-theatrical screenings during All Quiet On The Western Front & Gay Film Festival Enough Man Men, Heroes, Gay Nazis A Short Chronicle of Illness the year All That Jazz Enraged by a Picture Meth Show Me All The Presidents Men 20 Centimetres Every Other Day of the Week Mi Companera ...Silenced 8 1/2 Alphaville 50 Ways Of Saying Fabulous Everything Good Miss-Understanding Simon 10 Always On Sunday 100% Human The Ex-Factor Mock Rock The Slasher 2046 Amants Du Pont Neuf 550 Jamaica Ave Exit Manhattan My Cat’s Balls Sniff 39 Steps Amarcord About A Girl Faggot My Hustler Boyfriend Something Wonderful to Say 400 Blows American Boy The Aggressives El Favor N(either) / N(or) Sometimes You Fight For Your World, 42nd Street American In Paris Aishite Imasu 1941 Feline Masquerade New Report Sometimes You Fight For Yourself 49th Parallel American Splendor Albrecht Becker Arsch Ficker Faust Ficker Filthy Gorgeous, The Trannyshack Story Night of the Bomb Soothsayer 5000 Fingers Of Dr. T American Werewolf In London Amélie Whore Flights Of Fantasy Night Swimming Stains and Sparkles A Canterbury Tale Amleto (1910) Anita Needs Me Forty Guns Night Watch Stick it to Hetero Culture A Colour Box Amleto (1917) As Angry As Me (Selfi sh Cunt) Friday Girl Nights in Love Strangers A Company Of Wolves Amores Perros as-Phyx It Funnel No Light At The End of The World Strip Mall Glass A Cottage On Dartmoor Amour Existe Attack Games Not So Black Or White Surfacing A Dangerous Man: Lawrence After Arabia Amy Auntie Mame Gay Sex In The 70s Now Swoon A Day Of One’s Own Anatomy Of A Murder Backstage Gay’s The Word? NYC Dilemma Sylvia’s Promise A Defeated People Anchors Aweigh Bad Object Relations Gender Play On the Low screening with The Reception Tall in the Saddle A Double Life Andrei Rublev Baltimore Gender Trouble 13 Teen Screen Queens A Face In The Crowd Andrew And Jeremy Get Married Bam Bam And Celeste Girl Cleans Sink Operation Invert The Terrorist She-Freaks of Texas A Film Johnnie Anemic Cinema Bären Zirkus Go Fish Outlaws And Pranksters The Thief and the Stripper A Fisherman’s Love Story Angel At My Table Beautiful Thing Good Boys The Outsiders This is How I Love You A Good Little Devil Angel Face Beginners! Goodboys Overdue Conversation This Way Out A High Wind In Jamaica Angels With Dirty Faces Between the Boys Green Stalk Passing Suburbia Those Clouds A Kind Of Loving Anger 2 Between The Lines - India’s Third Gender Gum and Tea Pedagogue Three Of Hearts: A Postmodern Family A Life Apart Anger 3 Bikini Gypo Pick Up The Mic Three A Man For All Seasons Ankur Blood Happy Endings Playing A Part: The Story of Claude Cahun Time in Small Pieces A Mountaineer’s Romance Anna Karenina Blue Torn Petals Harold’s Home Movies Popular Music Time To Leave A Page Of Madness Annie Hall Bobbycrush Hey Jimmy Post Porn and New Technologies of Today’s Specials A Propos De Nice Another Time Another Place Body Politic How to Ass Ejaculate Pleasure Top of the World A Royal Scandal Antonio Das Mortes Born of the Wind Hung Pretty Ladies:A Super8 Explosion Tor n and Twisted A Solid Explanation Aparajito Boy Culture I Was a Teenage Rumpot Puszta Cowboy A Town Called Tempest A Town Like Alice Apocalypse Now Boy Wonder Implication Queens Tracy + The Plastics A Woman Rebels Appartement Brief Lives Inclinations A Question Of Silence Transamerica A Woman Under The Infl uence Apple Bright Eyes Intervention Rabbit of Seville Transgression Abfahrt Bei Wallon Appointment In London Brokeback Mountain I n t e rviews With My Next Girlfriend Rape For Who I Am Transparent Above Suspicion Apu Sansar Bugcrush Invulnerable The Reception Triple Minority Absolute Beginners Apu Trilogy The Burger Song Isn’t She Red River Troubled Teens Acceptable Levels Arakimentari By Hook or By Crook Jesse James Regarde la mer Tumbleweed Town Acrobatic Fly Architectural Millinery C.R.A.Z.Y. Johnny Guitar R e i m agining the Terrain The Underminer Act Of God Some Lightning Experiences Argent Calamity Jane The Journey Road Rash Unveiled 1961-80 Army In The Shadows Chick On Chick Jumpin’ the Broom: The New Covenant Une Robe d’été Video Remains Actor’s Revenge Arsenic And Old Lace Chicken Keep Not Silent Rock ‘n’ Roll Suicide Walk in the Light Adventures Of Don Quixote Art Of Lotte Reiniger Cigarettes, Reading, Masturbation and Kjell Rosario Miranda What is Gay? Adventures Of Prince Achmed Ashes And Diamonds Boys La China Rugburn Whatever It Takes Adventures Of Robin Hood Ashik Kerib Clay (A Would-Be Ghost Town) The Last Day Sacred Heart The Whiz Kids Advise And Consent Asparagus The Cockettes Lesbian Bed Death: Myth Or Epidemic? The Sadness of Johnson Joe Jangles Whole New Thing Aelita Asphalt Jungle The Confessions of Babette Let the Tape Roll Saint Martin de 4th Street Wilby Wonderful Affl iction Assault On Precinct 13 A Crimson Mark The Letter Sandra A Woman Distressed African Queen At Five In The Afternoon Dani and Alice Life in Vain - Walter Schwarze Saving Face Women in Love Afterlife At Land Dare Like Brother School Boy Art Working Portraits Age D’or Atalante Dead in the Desert Linda, Linda, Linda Scream Club’s Acnecore Video World’s Worst Architecture Age Of Consent Atomic Cafe Desire: Sexuality In Germany 1910-1945 The Line of Beauty Screaming Queens: The Riot At Compton’s Wrestling Match An Airman’s Letter To His Mother Attention Weightlessness Desperate Remedies Loggerheads Cafeteria Writer of O Aladin Ou La Lampe Merveilleuse Au Bagne

68 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 69 Au Hasard Balthazar Biggie And Tupac Britannia Hospital The Cheviot, The Stag And The Black, Crime De Monsieur Lange Diamonds Of The Night Au Pays Des Singes Et Des Serpents Billy Liar British News No 16 Black Oil Cronaca Di Un Amore Diary For My Children Audition Bird’s Life Bronco Bullfrog Chien Andalou Crossfi re Diary For Timothy August Birth Of A Flower Brothers In Trouble Chienne Crossing The Great Sahara Die Blume Der Kasbah Auntie Mame Birth Of A Nation The Browning Version Chignon D’olga Crown V Stevens Die Verlorene Avventura Birthday Party Buddy Buddy Chikamatsu Monogatari Cry The Beloved Country Dig! Baadasssss! Bitter Tears Of Petra Von Kant Bully For Bugs Children At School Crying Game Dim Little Island Baby Doll Bizalom (Confi dence) Burning An Illusion Children Playing At War Cuba Si Dim Sum - A Little Bit Of Heart Baby Face Nelson Black Cat White Cat Bush Mama Chinoise The Cuckoo Dimensions Of Dialogue Babylon Black Five Buster Keaton Rides Again Christmas Greetings Trailers Cuirasse Potemkin Dirty Dancing Back From Eternity Black Joy Butter In Der Normandie Christmas In July Cul De Sac Dirty Dozen Back Street Black Narcissus Butterfi eld 8 Christmas Play Culloden Distant Voices Still Lives Bad And The Beautiful Black Orpheus Buy Your Own Cherries Christmas Under Fire Cumberland Story Ditto Bad Luck Blackie Black Pirate Cabaret Chronicle Of A Summer Curse Of The Cat People Diva Bad Sleep Well Black Rain Cabin In The Sky Cinema Paradiso Cutter And Bone (Cutter’s Way) Divine Horsemen: The Living Gods Of Bad Timing Blackboards Cabinet Of Dr. Caligari Circus Cyrano De Bergerac Haiti Badgers Green Blackmail Cabinet Of Jan Svankmajer Citizen Kane Daisy Doodad’s Dial Divine Intervention Baldwin’s Nigger Blade Runner Cabiria Claire’s Knee Dames Du Bois De Boulogne Doctor Zhivago Ballad Of Cable Hogue Bleak House Caged Clash Of The Titans The Damned Dog And Cat Ballad Of Reading Gaol Bleak Moments Call Northsisde Cleaner Milk Dans Le Golfe Se Salenrne Dog Outwits The Kidnappers Ballet Mecanique Blind Chance Calling Blighty Clerks Dark Mirror Doll Balzac Et La Petite Tailleuse Chinoise Blind Director Camera Buff Close Up Dark Victory Dolls (2002) Band Wagon Blithe Spirit Camera D’afrique Closely Observed Trains Dark Water Dolores Claiborne Bande A Part Blob The Cameraman Closet Daughters Of The Dust Domicile Conjugale Barotse Life & Customs Blonde In Love Camille Cloud Capped Star (Meghe Dhaka Tara) Dawn Of The Dead Don Giovanni Bateux Sur Le Nil Blood Of A Poet Canterbury Cathedral Clouded Yellow Day At The Races Don Quixote Battle For The Ukraine Blood On The Moon Canterbury Tale Clouds Day For Night Don Shayn Battle Of Algiers Blood Sisters Cape Forlorn Coal Face Day I Became A Woman Don’t Look Back Battle Of The Sexes Blosh Captain Blood Cobweb Day In The Life Of A Coal Miner Don’t Look Now Battle Royale Blow Up Capturing The Friedmans Coffee And Cigarettes Day Of The Fight/Flying Padre The Door In The Wall Battleship Potemkin Blue Angel Caravaggio Colour Box Day Of Wrath Double Indemnity Bayan Ko: My Own Country Blue Light The Cardinal Colour On The Thames Day The Earth Stood Still Doulos Beast From 20,000 Fathoms Blue Pullman The Caretaker Coma Daybreak Express Down By Law Beat Girl Blue Veil Cargoes Comb Days Of Thrills & Laughter Down To The Cellar Beau Brummel Bluebeards Castle Carmen Comedian Harmonists Dead Man Downhill Beau Travail Blues Brothers Carmen Jones Comedians Dead Of Night Dr Mabuse - Part One (The Gambler) Bebe Imite St Martin Bob Le Flambeur Carriers Are Waiting Comedie De L’innocence Deadlier Than The Male Dracula, Prince Of Darkness Bedelia Bonaventure ( Thunder On The Hill) Carry On Admiral Common Thread Dear Phone Draughtsman’s Contract Begone Dull Care Bonnie Scotland Casablanca Complete Jean Vigo Death In Venice Drawings That Walk And Talk Behind The Rent Strike Bonzoby Case Of The Mukkinese Battlehorn Comrades Death Of A Gun Fighter Dream Life Of Angels Behind The Spanish Lines Boom Cat Concerto Condition Of Illusion Death Of Stalinism In Bohemia Dreams Of Toyland Belle Et La Bete Born Yesterday Cat On A Hot Tin Roof Coney Island Deathwatch Dreams That Money Can Buy Belleville Rendez-Vous Borom Sarret Cat People Confessions Of A Nazi Spy Decamerone Drifters Ben Hur Boucher Cat That Hated People Consequences Of Love Decasia Drive For Life Berlin - Symphony Of A City Boudu Saved From Drowning Catch 22 Contraband Decline Of The American Empire Drunken Angel Berlin Die Sinfonie Der Gross Stadt Bout De Souffl e Caught Control Room The Deer Hunter Du Caire Aux Pyramides Berlin Express Bout De Zan, Revient Du Cirque Cavalcade Conversation Defeated People Duck Amuck Betty Boops Halloween Party Bout De Zanetle Chemineau Ceddo Cool And Crazy Delhi Grande Ville De L’inde Superiieure Duck Soup Betty Fisher And Other Stories Boxcar Bertha Cercle Rouge Cool World Delicatessen Duel In The Sun Between Showers Boy Friend Chambre Cooler Dementia 13 Dumbhounded Between The Tides The Boy Who Turned Yellow Change Of Air Corny Concerto Der Kid Reporter Dunlop Welcomes Prince Philip Between Two Worlds A Boy, A Girl And A Bike Chant D’amour Cottage On Dartmoor Design For Living Dying Swan Beyond The Curtain Brainstorm Charlie: The Life And Art Of Charles Count Despair Early Disney Animation Prog 1,2 & 3 Bhumika Breakfast At Tiffany’s Chaplin Courage Of Lassie Desperate Early Films Of Peter Greenaway 1 Il Bidone The Bridegroom, The Comedian And The Charlotte Et Son Jules Cours Du Soir Destiny Early Films Of Peter Greenaway 2 Big Business Pimp Chase Film In 1903 Coventry Kids Devil Doll (1936) Early To Bed Big Combo Brief City Cheddar Cowboys The Devils Earth (Silent) Big Heat Brigadoon Chemist Cranes Are Flying Devil’s Backbone East Anglian Holiday Big Sleep (1946) Brighton Rock Chess Fever Crazy Mama Devil’s Wheel Eaux D’artifi ce Big Snit Bringing Up Baby Chesterfi eld & East Derbyshire Cretinetti Assiste Ad Un Combattimento Diaboliques Eclisse Bigger Than Life Britain Can Take It Agricultural Society Di Galli Dial M For Murder Edge Of The World

70 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 71 Eel Films Of James Williamson Genevieve Haydn And Mozart Hukkle Jail Bait Effi Briest Finishing Touch Gentle Gunman Hazard Hull Traffi c Scenes From Monument Jail Bird And How He Flew Eighty Days Fire Over England Gentleman’s Agreement He Loves Me, He Loves Me Not Bridge Jailhouse Rock Electric Edwardians: The Films Of Fires Were Started Geoffrey Jones: The Rhythm Of Film Head-On Hunchback Of Notre Dame Jamaica Inn Mitchell And Kenyon Fireworks George Washington Hear My Song Hunger Jane Eyre Elonge De L’amour First A Girl Georgy Girl Heart In Winter I Am A Fugitive From A Chain Gang Japanese Festival En Attendant Le Bonheur First Men In The Moon German Sisters Heart Of Britain I Could Read The Sky Japanese Story En Terre Sainte-Jerusalem First Of The Few Get Carter Heart Of England I Do Jassy Enchanted Cottage Fists In The Pocket Giant Hell In The Pacifi c I Know Where I’m Going Java Head End Of Summer Five Gigi Hell Is A City I Live In Fear Jaws End Of The Century: The Story Of The Five Came Back Gilda Hell Is For Heroes I Love You Alice B Toklas Jazz Of Lights Ramones Five Graves To Cairo Girl From Paris Hell’s Angels I Married A Communist Jazz On A Summers Day Engine Shed Fixer Girl Rosemarie Hellzapoppin I Met A Murderer Jealousy Enginemen Flash Gordon’s Trip To Mars Girl’s Own Story Hepworth Films Compilation I Racconti De Canterbury Jeff Keen Trilogy English Harvest Flat Glimpses Of Stratford-On-Avon In Bygone Her First Affaire I Was A Soldier Jesus Of Montreal Enough To Eat Flic Days Her Last Affair I Was Born But.. Jetée Enthusiasm Flight From Glory Goalkeepers Fear Of The Penalty Hercules, Samson And Ulysses Ich War Neunzehn Jeux Interdits Entr’acte Flirty Birdy Godzilla Heroes Of Telemark If Jezebel Equation X + X = O Flying Down To Rio Gone To Earth Hi, Mom! Il Caso Mattei Joe The Chainsmith Escape Me Never Flying Elephants Good Little Devil Hidden Fortress I’m British But.. John Betjeman Goes My Train Eternity And A Day Food Good Morning, Night High School Imitation Of Life Johnny Angel Etre Et Avoir Food Flash Gorgo High Sierra Immortal Story Jonah Man Or The Traveller Bewitched Evergreen For Sentimental Reasons Grand Hotel High Society Importance Of Being Earnest Jour De Fete Every Day Except Christmas Forbidden Planet Grand National Night High Treason In A Landscape Jour Se Leve Everything Happens To Me Force Of Evil Grande Illusion Hill Farm In A Lonely Place Juarez Exile Foreign Affair Grass Hiroshima Mon Amour In Cold Blood Jubilee Experiment Perilous Foreign Correspondent Great Caruso His Girl Friday In Name Only Jujiro Exterminator Forstnutzung In Australien Great Day In Harlem His Kind Of Woman In The Meantime Darling Julia Extinct World Of Gloves Fort Apache Great Dictator His Last Fight In The Mood For Love Juno & The Paycock Extraordinary Adv. Of Mr West In Land Forty Guns Great Expectations His Phantom Sweetheart In The Street Juvenile Liaison Of Bolsheviks Forward Coventry - How A Famous Great Sacrifi ce Histoire D’eau In Which We Live.... Kagemusha Eye On The Ball British Motor Cylce Is Made Great Train Robbery History Lessons In Which We Serve Kanal Eyes Without A Face Fountainhead Green Cockatoo The History Of Mr Polly Inauguration Of The Pleasure Dome Kate Purloins The Wedding Presents F For Fake Four Adventures Of Reinette And Gruesome Twosome History Of The Avant-Garde Incredible Shrinking Man Katzelmacher Face In The Crowd Mirabelle Guelwaar Hitchcock At War Indian Fantasy Kelly’s Heroes Face To Face Four American Composers - John Cage Guernica Hitler, A Film From Germany Industrial Britain Kentucky Kernels Fahrenheit 451 The Four Feathers Gumshoe Hitler’s Children Industrie De L’escargot La Kermesse Heroique Faires On The Faun Four Horsemen Of The Apocalypse Guns In The Afternoon Hobson’s Choice Infernal Affairs Kes Fairy Of The Phone Four Hundred Blows, (Les Quatre Cent Guns Of Loos Hold ‘Em Jail Innocence Un Protected (Nevinost Bez Key Largo Faithless Coups) Gypsy And The Gentleman Hold Me While I’m Naked Zastite) Keys To The House Fall Of The Roman Empire Fourth Dimension Hairspray Hold-Up Of The Rocky Mountain Express The Innocents Keystone Shorts Fallen Angel Fox Half Shot At Sunrise Holiday Insiang Khamoshi Pani Fallen Idol Fox And His Friends Halloween Holiday Camp Insignifi cance Kid Auto Races At Venice California Falls Frantz Fanon: Black Skin, White Mask Hamlet Home And The World International Sweethearts Of Rhythm Kid Der Reporter Fame Freaks Hands Over The City Home From The Hill Intolerance Kids Are Alright Fanny By Gaslight Free Cinema 1: Free Cinema Programme Hangman Honeymoon Killers Invasions Barbares Kika Far From The Madding Crowd Freedom Of The Hill Hangmen Also Die Hope And Glory The Invisible Man The Killers Farewell To Arms Friday The Thirteenth Hans Richter Programme Horseman On The Roof ( Hussard Sur Le Invocation Of My Demon Brother Killer’s Kiss Farmer Moving South Frieda Happiest Days Of Your Life Toit) The Ipcress File Killing Of Sister George Father And Son Friends And Lovers Happiness Of The Katakuris Horse’s Mouth Iron Horse Kind Hearts And Coronets Fear Eats The Soul From Mao To Mozart: Isaac Stern In China This Happy Breed Hotel Reserve Island Kinder Kader Kommandeure Fearless Vampire Killers Fully Fitted Freight Happy In The Morning Hotes De L’air It Kinder-Korno In Nizza Fedora Gaeste Des Meeres Happy Together Hound Of The Baskervilles It Always Rains On Sunday King Kong Felix Wins And Loses Gallivant Hard Fast And Beautiful House (1955) It Happened Here Kings And Queen Femme Infi dele Gambit Hare Brush The House Of Darness It’s A Gift King’s Stamp Femme Mariee Gaslight Harlequin House Of Wax It’s A Wonderful Life Kino Pravda No. 21 Festen -Celebration Gas-S-S-, Or It Became Necessary To Harry Secombe Show Housing Problems Ivan The Terrible Pt1 Kipps Figures In A Landscape Destroy The World In Order To Save It Harry, He’s Here To Help How Could William Tell? Ivan’s Childhood Kirikou And The Sorceress Films Of G.A. Smith Gavotte Hatari How Talkies Talk I’ve Heard The Mermaids Singing Kiss Me Kate Films Of George Melies Part One General Line Haunted Spooks How To Boil J.S.Bach: Fantasia Kiss Of Life Films Of George Melies Part Three General View Of The Dardanelles Haxan Hugo And Josefi n Jack Johnson Knave Of Hearts

72 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 73 Knife In The Head Leonardo’s Diary Love Goddesses Masks And Faces Murderers Are Amonst Us Norman Mclaren Collector’s Edition Knife In The Water Leopard Love Is The Devil Massingham Compilation Music For Madame North By Northwest Koko The Convict The Leopard’s Spots Love Me Or Leave Me Mata Hari Music Of Lennon & Mccartney North Sea Koktebel Les Demoiselles De Rochefort Love Nest On Wheels Mathematician Mutiny Ain’t Nice Northwest Hounded Police Konig Midas Les Girls The Love Test Matter Of Life And Death Mutter Kusters Fahrt Zum Himmel Nosferatu - Eine Symphonie Des Grauens Krapp’s Last Tape Letter From An Unknown Woman Lucifer Rising Mauvaise Graine My Ain Folk Not A Penny On The Rent Kuhle Wampe Letter From My Village Lumber Jack Rabbit Mean Streets My Architect; A Son’s Journey Nothing Sacred KURUTTA IPPEIJI (Page Of Madness) L’exode Lumiere Programme Meanest Gal In Town My Baby Just Cares For Me Notorious Kustom Kar Kommandos Liam Luna - Short Meatdaze My Childhood Now Voyager (1942) L’ A rgent Liebelei Lust For Life Medea My Favourite Year Nowhere In Africa L’ At alante Lieutenant Daring Quells A Rebellion M - Eine Stadt Sucht Einen Morder Meditation On Violence My Girlfriend’s Boyfriend Nurse And Martyr La Bibbia The Life And Death Of Colonel Blimp M\De Tod Meet Jackie Coogan My Little Chickadee Nuts In May La Bouee Life And Times Of Rosie The Riveter Ma Nuit Chez Maud Meet Max Miller Myster Submarine O Dreamland La Chienne Life Apart Mabel At The Wheel Meet Me In St Louis Mysterians Oblivion La Locuste Life Is A Miracle Macbeth Men In A Swimming Pool Mysterious Island Oblomov La Maison Hantee Life Of Mozart Machinist Mephisto Mysterious Skin Ocean Terminal La Marseillaise Life Of Charles Peace Machuca Mepris Mystery In Mexico October La Mort De Cambyse Life Of O-Haru, The Macintosh Man Merci Pour Le Chocolat N Or Nw Odd Man Out La Mort De Mozart Lift To The Scaffold Mad Love Meshes Of The Afternoon Nada Off His Trolley La Notte Light Reading Madame A Des Envies Metropolis Naked City Offi ce La Petite Marchande D’allumettes Like Water For Chocolate Madame Bovary Midsummer Nights Dream Naked Civil Servant Offi cer’s Ward La Premiere Nuit Limit Madame De.. Mighty Joe Young The Naked Dawn Offi cial Version La Ronde L’ i ndust r ie D e L’escargot Madeleine Mildred Pierce Naked Spaces: Living Is Round Oh Rosalinda La Signora Senza Camelie Lissy Mademoiselle Fifi Mill Girl Napoleon Okay (2002) La Tendre Ennemie Listen To Britain Madonna Of The Seven Moons Millions Like Us National Anthem - The Royal Guards Old Aunt China Ladri Di Biciclette Little Caesar Magic Box Mining Review 21st Year No 4 Navigators Old Boy Lady From Shanghai Little Drummer Girl Magnifi cent Ambersons Ministry Of Fear Never Weaken Old Grey Hare Lady Godiva The Little Foxes Mahanagar Minor Mishaps Next Oliver Twist Lady Killers Little Johnny Jet Mahler Miracle Of Bern Nice Arrangement Olympiad Lady Of Deceit Little Match Girl Mai Miracle Of Morgan’s Creek Nice Time On And Off The Rails Land Of Promise Little Match Seller The Major And The Minor Mississippi Masala Night & The City On Dangerous Ground Land Of Silence And Darkness Little Miss Muddlehead Major Barbara Mitchell & Kenyon - Regional Highlights Night And Fog On The Black Hill Las Palmas Little Tinker Making Fashion Mitchell And Kenyon: Electric Edwardians Night And The City On The Town Last Days Of Pompeii Little Women Making Of Broncho Billy Mixed Babies Night At The Opera On The Way To Warwick The Last Detail Littlest Rebel The Maltese Falcon Mixed Magic Night In Casablanca Once Upon A Time In The West Last Laugh Living On The Edge Mamma Roma Model Night Mail One Froggy Evening Last Life In The Universe Ljubavni Slucaj (Tragedy Of A Man And His Dog Out For Air Momma Don’t Allow Night Must Fall One Of Our Aircraft Is Missing The Last Resort Switchboard Operator) The Man Between Mon Oncle Night Of San Lorenzo Opening Night The Last Supper Loafer Man Bites Dog Mona Lisa Night Of The Demon Operation Chirurgicale Last Trick Local Hero Man Escaped Monday Morning Night Of The Hunter Ophelia Last Year In Marienbad Lockerbie: A Night Remembered Man Of Aran Monkey Business Night Of The Iguana Oreos With Attitude L’at alante Lodger Man On The Eiffel Tower Monsieur Hulot’s Holiday Night Of The Living Dead Orphans Of The Storm Late Spring The Lodger The Man Who Fell To Earth Monty Python’s Life Of Brian Night Of Truth Orphee Laughter In Paradise Logan’s Run The Man Who Knew Too Much Monty Python’s The Meaning Of Life Night On A Bare Mountain Oskar Fischinger Programme Laura Lolita Man With A Movie Camera Moolaade Night On Earth Ossessione Laurel And Hardy’s Laughing 20’s London Man With The Golden Arm Mor Vran Night Passage Ossuary Lavender Hill Mob London Can Take It Man You Loved To Hate More The Merrier Night Song Othello (1920) Law & Order Loneliness Of The Long Distance Runner Mandy Morocco Night Train To Munich Our Baby Lawless Heart Lonely Are The Brave Manhatta Mother India Night Waitress Out Of The Inkwell Lawrence Of Arabia Lonely Passion Of Judith Hearne Manila Mother Krause’s Journey To Happiness Nights Of Cabiria Out Of The Past Le Corbusier - L’architecte Du Bonheur Lonesome Luke’s Movie Muddle Manipulation Mouchette Nikita Outfi t Le Dejeuner Du Savant Long Haired Hare Manufacturing Consent: Noam Chomsky Mouse In Manhattan Nina Santa Outfoxed Le Diable Au Corps The Long Memory And The Media Mr Smith Wakes Up! Nine Queens Outrage Le Farceur Long Pants Manxman Mrs Dalloway Ninety Degrees South The Outsiders Le Festin De Baltazar Long Voyage Home Marnie Mrs Miniver Ninotchka Overcoat Le Jour Se Leve Look Back In Anger Marriage Of Maria Braun Mughal-E-Azam No Blade Of Grass Oxford And Cambridge Boat Race 1913 & Le Monde Du Silence Looking For Langston Marriage Of Maria Braun Murder No More Mr Nice Guy/ Wir Konnen Auch 1911 Le Spectre Rouge Lord Of The Flies Martyre Murder Anders Pacifi c 231 Legend Of The Surinam Fortress Lost One Martyres Del’inquisition Murder By Contract Nocturna Artifi cialia Paisa Lena O My Lena Lost Squadron Mary Murder My Sweet Noi Albinoi The Palestinian Leon Morin, Pretre Lost Weekend Masculin Feminin Murder On A Honeymoon Norma Rae Palindromes

74 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 75 Palm Beach Story Polish Bride Reconstruction Sanjuro Sid And Nancy Spring Ofensive Pals Or My Friend The Dummy Pop Goes The Easel Red And Blue Sankofa Silence Of The Lambs Spring, Summer, Autumn, Winter...And Pandora’s Box Por Primera Vez Red Badge Of Courage Sans Soleil Silent Bell Spring Paris 1900 Post Haste Red Beard Sansho Dayu Silent Shakespeare Springtime In A Small Town Paris Qui Dort Postman Always Rings Twice Red Desert Satan Met A Lady Silent Village Spy In Black Paris, Texas Powers Of Ten Red Lights Saturday Night & Sunday Morning Silent War St Peter’s Wolverhampton Fabric Fund Park Film Prem Sanyas Red Sea To Blue Nile Say It With Flowers Silver City Appeal Parsifal Premiere Nuit Red Shoes Scandal In Bohemia Since Otar Left Stagecoach Partie De Campagne Pressure Red Sorghum Scaramouche Sing Your Way Home Staircase Pas De Deux Price Of Coal Red Squirrel Scarface Singin’ In The Rain Stalker Passenger Priest Of Love Regeneration Scarlet Pumpernickel Singing Fool Star Passerby Princess Bride Regle Du Jeu Scarlet Street Singing In The Rain Starlings Of The Screen The Passionate Friends Princesse D’ys Rehearsals For Extinct Anatomies Scent Of Green Papaya Single Line Working Stars Passionless Moments Private Hell Rembrandt Sciuscia (Shoeshine) Sinking Of The Lusitania The Stars Look Down Passport To Pimlico Private Parts Rembrandt De La Rue Lepic Scorpio Rising Sir Henry At Rawlinson End Steamroller And The Violin Past Perfumanced Privilege Repulsion Scorsese Package Sixteen Years Of Alcohol Stolen Life Pat Garrett & Billy The Kid The Property Man Rescued By Rover Scotch Myths Ski Running Storm Over Asia Pathe Films Proud Valley Respiro Scott Of The Antarctic Skidoo The Story Of Gilbert And Sullivan Patinum Blonde Pschedelia And 60s And 70s Alternative Return Of Maxim The Scoundrel Skupljaci Perja ( I Even Met Happy Story Of The Late Chrysanthemums Pavement Butterfl y Film Programme Rhinozerrossjagd Scrooge Gypsies) The Story The Biograph Told Peche A La Dynamite Psycho Rich And Famous Scrooge; Or Marley’s Ghost Slap Happy Lion Strada Peel Public Enemy Richest Girl In The World The Search Slave Of Love (Raba Lubvi) Stranger On Horseback Penal Colony Public Voice Riddles Of The Sphinx Search For Evidence Sleep, My Love Stranger On The Third Floor Pennies From Heaven Puce Moment Rien Que Les Heures The Searchers Slick Hare Stranger Than Paradise Penny Journey Pull My Daisy Rifi fi Chez Des Hommes Seashell And The Clergyman Sloane Square: A Room Of One’s Own Stratford-On-Avon People On Sunday Pumpkin Eater Right Girl? Seaspeed Across The Channel Small Back Room Straw Dogs Peoples March For Jobs Punch And Judy The Ring Sebastiane Smile Orange Stray Dog Pepe Le Moko Pursued Rising Of The Moon Seconds Smiling Madame Beudet Street Performance Putting Pants On Philip Riso Amaro (Bitter Rice) Secret Ballot Smith Street Angel Perils Of Pauline Pygmalion Ritual In Transfi gured Time Secret Du Corsaire Rouge Smouldering Fires Street Of Crocodiles Pesnya Katorzhanina (Prisoner’s Song) Quad The River Secret People Snow White Strength And Agility Of Insects Peter Greenaway Programme Quadrophenia River (He Liu) Secrets Of A Soul Snowman Strike Petite Marchande D’allumettes Quatermass And The Pit River Called Titas Serpent Solarfl ares Burn For You Stromboli Petites Coupures Que Viva Mexico! Roadblock Servant Solaris Study In Choreography For Camera Phantom Carriage Queen Christina Roaring Twenties Seven Brides For Seven Brothers Solas Study In Terror Phantom Light Queen Kelly Robinson In Space Seven Keys To Baldpate Soldier And The Lady Subarnarekha Phantom Of Crestwood Queen Of Spades Rocco And His Brothers Seven Samurai Some Like It Hot Sudden Fortune Of The Poor People Of Phantom Of The Opera Quiet Week In The House Rockaby (Homage To Beckett) The Seventh Seal Some Women Kombach Phil Mulloy: Extreme Animation Rabbit Of Seville Romance In A Minor Key Sex And Lucia Something Always Happens Sullivan’s Travels Philadelphia Story Rabbit’s Moon Rome Open City Shadow Of A Doubt Sommarlek Summer Madness Piano Teacher Rabid Ronde Shadows Sommer Des Falken Summer With Monica Piccadilly Rabindranath Tagore Rosenkavalier Shaft Son Of Kong Sun Pickpocket Radio On Rosetta Shakespeare Land Song Sunrise Picture Of Dorian Gray Raid Paris - Monte Carlo Endeux Heures Round Up Shakespeare’s Country Song Of Ceylon Sunset Boulevard Picturesque Roumania Railrodder Royal River Shall We Dance Sons And Lovers Sunshine Fun And Laughter Pimple’s Battle Of Waterloo Railway Children Ruggles Of Red Gap Shanghai Express Sorcerers Sunshine In Soho Pimple’s Wonderful Gramophone Rain Russian Ark She Sound Barrier Sunshine Susie Pineapple Industry Rainbow Dance Ruttmann Opus Shifting Units Sous Le Sable Super Size Me Pink Floyd The Wall Raise The Red Lantern Ryan’s Daughter Shirt Factory South Sur Un Air De Charleston Pink String And Dealing Wax Random Harvest Rynox Shock Corridor Southampton Into The Seventies Surname Viet,Given Name Nam Pioneers Of The British Film Rashomon S.O.B. Shoot For The Contents The Southerner Suzhou River Pirate Rasputin The Mad Monk Sabotage Shooting Of Dan Mcgoo Soviet Toys Svengali Pit Rat Trap Saddest Music In The World Shooting Stars Soylent Green Sweet Sweetback’s Baadasssss Song The Pit And The Pendulum Raw Deal Safety Last Short Cuts Spare Time Swing Time Planet Of The Apes Reach For Glory Salo Short Film About Killing Speak Like A Child Swinging The Lambeth Walk Platform Rear Window Saltwater Short Film About Love Spellbound Sympathy For The Devil Play Me Something Rear Window Salvatore Giuliano Short Sharp Shock SPIDER AND THE FLY (Mosca E Il Ragno) Symphony In Slang The Playhouse Reassemblage Samuel Beckett (Silence To Silence) Show Called Fred Spider’s Stratagem T.V. Of Tomorrow Playtime Rebecca San Francisco Showboat Spiral Staircase Taking Off Plein Soleil Rebel Without A Cause San Pietro Sick: The Life And Death Of Bob Flanagan, Spirited Away Tale Of Love Point Blank The Reckless Moment Sandman Supermasochist Spite Marriage Tale Of Two Sisters

76 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 77 Tales From The Crypt The Men Through The Olive Trees Two Stage Sisters Water Wrackets Xmas Greetings Trailers Tales From Vienna Woods - Stille Nacht Iii The Mill Girl Thumbelina Two Women In A Garden Watership Down Yaaba Tales Of Hoffmann The Morning After Thursday’s Children Typically British Wavelength Yazgi (Fate) Tales Of Mens Shirts The October Man Ticket Of No Return Ugetsu Monogatari Way To The Sea Yeelen Tango The Palestinian Tie Me Up Tie Me Down Ukigusa Way To The Stars Yellow Caesar Tango Lesson The Passing Of The Third Floor Back Tiger Bay Umberto D. We Are The Lambeth Boys Yellow Earth Tansy The Passionate Friends Tiger Hunting In Delhi Un Chien Andalou Weak And The Wicked Yes Men Taris The Perfect Woman Tiger Of Eschnapur Unbelievable Truth Weekend At Bernie’s Yojimbo Tarzan And His Mate The Playhouse Tillie’s Punctured Romance Under Capricorn Welfare Of The Workers Yolanda And The Thief Taste Of Cherry The Plow That Broke The Plains Tilly’s Party Under The Bridges Went The Day Well You Only Live Once Taste Of Honey The Rat Time Bandits Under The Skin Werckmeister Harmonies You Oughta Be In Pictures Taxi Driver The Reckless Moment The Time Machine Under Your Spell West Side Story Young And Innocent Teddy At The Throttle The Red Shoes Time Of Our Lives Underground Westworld Young Magician Teddy Brown And His Xylophone The Reluctant Debutant Tin Drum Underworld U.S.A What A Day Young Soul Rebels Telly Savalas Looks At Birmingham The Ring Tiny And Ruby: Hell Divin’ Women Unearthly Stranger What Have I Done To Deserve This? Young Stranger Tempest The Sandpiper Titas Ekti Nadir Naam Unfaithfully Yours What Price Hollywood? You’re Darn Tootin’ Tenderness Of The Wolves The Score Titfi eld Thunderbolt Untold Scandal What’s Opera, Doc? Youth Of Maxim Terence Davies Trilogy The Scoundrel To Be Or Not To Be Unusual Match When The Cat’s Away Yoyo Terra Trema The Search To Beep Or Not To Beep The Unwritten Law When The Pie Was Opened Zabriskie Point Terr itor ies The Seventh Victim To Have And Have Not The Usual Suspects Where Danger Lives Zatoichi Tess The Silent Village To Kill A Mockingbird Uzak Where Eagles Dare Zazie Dans Le Metro Testament Of Dr.Mabuse The Silent War To Sleep With Anger Va Savoir Where The North Begins Thais The Southerner Together Vagabonde Where The Sidewalk Ends That Hamilton Woman The Stars Look Down Tokyo Story Vampire While The City Sleeps That Sinking Feeling The Story Of The Wheel Tom Thumb Vanishing Street Whirlpool The Bad And The Beautiful The Third Man Tommy Variety Whisky The Bamboo Blonde The True Story Of Lili Marlene Tonespor Vendredi Soir Whispering Corridors The Big Steal The Vip’s Tontolini Ruba Una Bicicletta Veronika Voss White Heat The Big Swallow The Vyborg Side Too Long A Sacrifi ce Vertical Features Remake Whitney Brothers Programme The Blue Lamp The Way To The Sea Top Hat Vertigo Who Cares? The Citadel The Way To The Stars Topical Budget No 3 Very Eye Of Night Whom The Gods Love The Commitments The White Caps Torremolinos 73 Viaggio In Italia Wicker Man The Day The Earth Caught Fire Their Majesties Lambeth Way Toto The Hero Victor, Victoria William Booth Inspects Girls The Edge Of The World Theorem Touki- Bouki Victorian Cinema 14:Boer War Biograph Winchester ‘73 The Farmer’s Wife These Foolish Things Tour Prog: Transport Films Victory Parade Winstanley The Flame Of Love They Drive By Night Tous Les Garcons S’appellent Patrick Viktor Und Viktoria Winters Tale The Gateway They Live By Night Tout Va Bien Village Of The Damned Witchfi nder General The Gay Divorcee They Shoot Horses, Don’t They? Trade Tattoo Ville Est Tranquille Wittgenstein The Great Mr Handel They Won’t Forget Traffi c In Souls Virgin And The Gypsy Wizard Of Oz The Great Waltz They’re A Weird Mob Train Time Virgin Spring Woman Between The Haunting Thief Of Bagdad Trans Europe Express Virile Games (Muzne Hry) Woman In Question The Hurricane Things To Come Travelling Painters Of Russia Virtuous Isidore Woman Of The Dunes The Informer Third Avenue El Travels With My Aunt Visit Of King George V And Queen Mary Woman Of The Year The Innocents This Happy Breed Traviata To Colne Woman On The Beach The Invisible Man This Is Not A Love Song Treasure Of San Teresa Vitelloni Woman On The Verge Of A Nervous The Kid Reporter This Is Spinal Tap Treasure Of The Sierra Madre Vivre Sa Vie Breakdown The Ladies Man This Sporting Life Tristana Voice Of A Child Woman’s Angle The Lady From Shanghai This Week (3.7.58) - Leamington Spa & Triumph Des Willens Vormittagspuk Woman’s Secret The Lady Vanishes The Teddy Boys Triumph Of The Rat Voyage A Travers L’impossible Women The Life Of Emile Zola Thousand Eyes Of Dr Mabuse True Heart Susie Voyage Au Congo Wonderful Britain - Away To The West The Little Foxes Three African Shorts True Story Of Lili Marlene Voyage To Italy Wonderful World Of The Brothers Grimm The Lodger Three Cases Of Murder Tudor Rose Vyborg Side Wonderful Wye The Lost Weekend Three Colours Blue Tumbleweeds W.R. Mysteries Of The Organism Woodsman The Maggie Three Colours White Tunes Of Glory The Wages Of Fear Work Made Easy The Magic Apple Tree Three Crowns Of The Sailor The Tunnel Wakefi eld Express Workers And Jobs The Magic Box Three Faces Of Cuba Tusalava Walk On The Wild Side Workers Films Of The ‘Thirties The Major And The Minor Three Knights Twelve Tasks Of Asterix Walk Through H Working The Land The Malvern Hills Three Musketeers Twenty-Fifth Hour War Game Workshop Of The World: Birmingham The Man In Grey Threepenny Opera Twilight Samurai War Story Written On The Wind The Man Who Could Work Miracles Thriller Two O’clock Courage Warning Shadows Wrong Again The Manxman Throne Of Blood Two Or Three Things I Know About Her Water Babies Xala

78 BRITISH FILM INSTITUTE REPORT & FINANCIAL STATEMENTS 2006 79 The BFI would like to thank the following for generously supporting the ongoing activities of the BFI during the ﬁ nancial year 2005/06:

UK Film Council Accenture Department for Culture, Adobe Media and Sport (DCMS) Alfred Dunhill Limited Arts Council England BBC London Carlton Screen Advertising British Telecom Creative London City Pink Heritage Lottery Fund Cobra Beer Ltd Simon W. Hessel Coca-Cola ITV Network Ltd Diva London Development Agency Divine Chocolates Mayor of London Film London Renault UK Limited Gay Times The David Lean Foundation Green & Blacks The Weston Family The Guardian/The Observer Times Newspapers Ltd Guinness Foreign Extra Stout and others who wish to Haagen Dazs remain anonymous Hayward Gallery Highland Spring Ltd The Eric Anker-Petersen Charity Hire-A-Phone Ltd The British Board of Film Classiﬁ cation The Hollywood Reporter David Furnish The Hospital Paul Gambaccini HSBC Grand Classics/Indyssey Entertainment Illy Coffee The Japan Foundation Jacquesson Champagne Sir Elton John CBE Kixin Energy Drinks Jude Law LGBT Interbank Diversity Forum The Henry Moore Foundation L’Oreal (UK) Ltd The Wolfson Foundation Mayfair Cellars Midnite Express Millivres Prowler Ltd MTV Networks UK & Ireland Odeon Penguin Group Sky Movies Soﬁ tel St James London Soho House Stella Artois Thistle Hotels Turner Classic Movies TV5 White Star Line