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BFI Annual Review 2007-2008 There’S More to Discover About Film and Television Through the BFI

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BFI Annual Review 2007-2008 There’S More to Discover About Film and Television Through the BFI BFI Annual Review 2007-2008 There’s more to discover about film and television through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning resources are here to inspire you. 2Front cover: BFIDracula Annual (1958) Review 2007-2008 Contents Chair’s Report 3 Director’s Report 7 About the BFI 11 Summary of the BFI’s achievements › National Archive 15 › International Focus for Exhibition 21 › Distribution to Digital 27 2007-2008 – How we did 33 Financial Review 35 Appendices 41 Front cover: Dracula (1958) BFI Annual Review 2007-2008 3 Chair’s Report From its origins in the nineteenth century, This is a significant achievement but it is not cinema became the most influential – and enough. The rapid development of digital pervasive – art-form of the twentieth century. technology means we now have the opportunity The subsequent near-universal adoption of to multiply our impact, and to provide every television in the second half of the last century British citizen, no matter where they live, with engrained the moving image in our daily lives. greater access to the national archive. This, in And today, with the spread of the internet and the turn, will enable a new generation not just to development of cheap recording equipment, the watch work from previous eras but to create new moving image is entering a new phase – one in work for themselves and the future. We have – which anyone can create moving images to record albeit in a largely opportunistic way – created a and share their understanding of the world. major digital presence through such things as the development of downloads, our Screenonline The BFI is at the centre of this world: resource, our filmographic database and our YouTube channel. But we need to do much, › we already care for the world’s most significant much more, making more of the content we film and television archive, conserving, are already creating and repurposing it for restoring and making accessible an entire digital distribution. history of moving images while also using this material to tell stories of who we are and where Like most national collections, we face challenges we have come from; over the volume of materials we hold: our collection is not static but continues to grow, › we are the UK’s biggest distributor of cultural and the rate of growth is increasing rapidly. The cinema – serving over 800 venues across all capital cost of creating enough storage space is the nations and regions of the UK, as well as challenging, but in a world where fuel costs are managing one of the world’s most important rising exponentially we face a major problem DVD labels for cultural film; and in simply affording to keep this material in optimum storage conditions. If we do not, we › at our London home we create and programme risk the loss forever of irreplaceable cultural moving images which introduce a world of treasures. cinema and television to everyone who visits our venues, and which form the basis of touring programmes into every region of the UK, as well as providing education and other materials that contextualise and explain. The Wayward Cloud (2007) BFI Annual Review 2007-2008 3 The Long Day Closes (1992) From Here to Eternity (1953) And our London public venues – split between As the costs spiral of operating a 1950s building BFI Southbank, BFI IMAX and the BFI at Stephen that was shoe-horned under a major road Street – are not ideal. Southbank has recently bridge, the Southbank spaces look increasingly benefited from some capital investment to marginalised while large sums of public money refurbish and develop its facilities, which are poured into other national cultural facilities. has resulted in a very substantial increase in And the BFI National Library, operating from audiences and the opportunity to offer free extremely constrained spaces at Stephen Street, public access to a part of the archive through the is unable to provide the facilities or environment new Mediatheque. But the Southbank cinemas expected of a modern research library. Despite themselves – state-of-the-art in the 1950s – the high quality of the BFI’s knowledge creation are nowhere near the standard that should be work, the split between these London facilities expected of Britain’s national cinemas. only adds to our problems in providing a coherent, integrated public offer. 4 BFI Annual Review 2007-2008 Public funding in the arts is still to the BFI. Our online presence is set to grow disproportionately spent on the more traditional further based on the world’s largest filmographic art forms such as music and theatre, while database, while we have also been experimenting the moving image – the art-form that has far with using other online providers as channels for and away the biggest impact on every person the BFI’s distribution – our channel at YouTube, in Britain – is still something of a Cinderella. for example, provides access to archive material However, in the past year there has been for hundreds of thousands of users at near-zero progress. The BFI successfully secured £25 revenue cost to the BFI. million from Government to fund the BFI- led Strategy for UK Film Heritage, a UK-wide I joined the BFI as its new Chair almost at the end programme to conserve and make more of the financial year covered by this report. In accessible the UK’s moving image heritage. The the few months I have been in post I have been BFI is also hopeful of securing a £50 million impressed by the commitment and passion of capital contribution from Government for a new my fellow Governors and by the hard-work of National Film Centre on the Southbank. the BFI’s dedicated staff. This organisation is fortunate to be served by loyal people including In the past year the management team has driven many who are world leaders in their fields of through a significant change programme aimed expertise. In their hands, the nation’s priceless at both improving our financial position and moving image heritage is as safe as it can be. improving our service to the public. They have But much more needs to be done to secure it for negotiated a range of innovative partnerships the future and to ensure the public has access with commercial and other organisations to their archive. With reasonable support from which have already resulted in increases in the government, our ambitious strategy for the next investment in – and the impact of – areas as few years should see a step-change in what the diverse as book publishing, film sales and venue BFI can deliver and the impact we can achieve. catering. The relentless focus on improving the financial performance of the BFI IMAX has Greg Dyke resulted in a facility which now makes a net Chair, BFI Board of Governors From Here to Eternity (1953) contribution to the BFI rather than requiring a subsidy, while our DVD publishing operation is undergoing a remarkable renaissance in the range of titles it offers and the financial returns In the past year the management team has driven through a significant change programme aimed at improving the BFI’s financial position and its service to the public. BFI Annual Review 2007-2008 5 Director’s Report Several years of hard but successful work have A number of innovative partnerships have shifted us from a body whose course was set fair been successfully negotiated, including two of in the 1950s to one which is relevant for today’s particular importance: very different world. Over the last few years the BFI has become a leaner and nimbler operation, › the outsourcing of our major book publishing surviving on exactly the same level of public operations to Palgrave Macmillan in a deal funding it was receiving five years ago while that sees editorial control remaining with the delivering more opportunities for people from BFI. As a result, there should be many more ever-more diverse backgrounds to experience specialist books published each year which will the full range of world cinema. Through careful benefit from greater investment and a more marshalling of our resources we are achieving a powerful distribution network; and bigger impact than ever before. › the outsourcing of our overseas film The opening of the newly refurbished BFI distribution operations to HanWay Films, Southbank in March 2007 was a great success who will use the strength of their own sales for us. It combined the National Film Theatre operations to deliver wider distribution at site on London’s South Bank with the redundant lower cost. MOMI building to create a visitor destination which offers a broad programme of activities, The BFI has also worked enthusiastically with a events and opportunities to enjoy a wide range range of other bodies to further extend our reach. of previously disparate BFI activities, together Our fruitful relationship with the BBC led to a co- with pioneering access to the national archive. production The Lost World of Tibet, a documentary BFI Southbank is a prototype for a permanent and featuring stunning colour home movies shot in modern new National Film Centre: over 2007-08, Tibet in the 1940s and 50s. More than two million the first full year of operation, the number of people tuned in, and the DVD is selling well. users soared and exceeded our expectation. Through our partnership with JISC (Joint The other great success of the year was the Information Systems Committee) we will make decision by government to provide £25 million archive material available digitally across the to fund the UKFC / BFI-led Strategy for UK Screen whole of the UK.
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