Regular readers will be familiar with the reports from Il Cinema Ritrovato in Bologna and Le Giornate del Cinema Muto in Pordenone. Peter was for many years the Artistic Director for Il Cinemas Ritrovato and he was a familiar and friendly face at Pordenone. So the tribute circulated by the Cineteca di Bologna, together with one posted on Le Giornate WebPages, was sad news and well deserved.
It is with great sorrow that we announce the passing of our friend Peter von Bagh, artistic director of Il Cinema Ritrovato since 2001.
Peter was an enlightened intellectual and cinéphile, former director of the Helsinki Cinémathèque, he first discovered Aki Kaurismäki and was himself a filmmaker: his documentaries are permeated by a deeply human voice and a clever vision.
Peter gave a lot to the Cineteca and to the city of Bologna, contributing in a decisive way to Il Cinema Ritrovato and its international stature.
He had a wealth of unique talents: he had an intimate and voracious relationship with cinema – he had seen virtually every film in existence – which he had learned to understand and know with an unparalleled depth. He was an uncommonly cultivated man, admired by many filmmakers and carried himself with a simplicity and a playful sense of humour that naturally lead him to support many right – therefore often impossible – causes.
His departure is a huge loss for the international community of film lovers. Cineteca di Bologna lost a precious friend, his personal and human presence will stay with us as well as the rich patrimony of studies and films which is bound to acquire more and more relevance in the future.
Peter left us on a high note: a presentation at Bologna this year of his Socialismi. The film uses montage and an impressive assemblage of axioms to trace the developments in the primary progressive movement of the last two centuries. The film is not available at present but hopefully it will become so – a fitting tribute to a great and committed cinéaste.
Eureka / Masters of Cinema, Region B Blu-ray.
This new disc contains three films restored under the auspices of the World Cinema Foundation. Since 2007 the Foundation has done sterling work restoring classics from earlier periods of cinema. There are different discs with different titles in different territories. So in the USA Criterion have produced a box set whilst in France it is the Carlotta label. The UK release contains three titles, Dry Summer ((Susuz yaz, Dir. Metin Erksan, Turkey 1964), Trances (Dir. Ahmed El Maanouni, Morocco 1981) and Revenge (Mest, Dir. Ermek Shinarbaev, USSR 1989). The three respectively deal with a village conflict over a dam: a documentary about a Moroccan band: and an allegorical period film set in Kazakhstan. The films are introduced by Martin Scorsese who has been the key figure in the Foundation. And in each case the restoration has returned to the original film and consulted with the filmmakers, since all three films have suffered from at least two of the ravages of time, distributors. and censors.
It seems that the production of digital releases has been partly hampered by the films’ rights in particular territories. The US set has six titles and the French set, which unfortunately does not have English sub-titles only French, contains four titles, including Redes. Moreover this DVD came out over a year ago. The review in Sight & Sound praises the quality of the UK release disc. Unfortunately there do not seem to have been many screenings of the original restorations, nearly all are available in 35mm prints or on DCP, in the UK. I hope we will not find exhibitors using this Blu-ray as a substitute for the ‘real thing’. Note, most of the restorations by the Foundation have been screened at Il Cinema Ritrovato and usually in 35mm prints.
This is a documentary film about ‘the catastrophe’ that befell the Palestinian people in 1948. It traces the history of the colonial policies and actions that led to their expulsion from their homeland. It was made by Palestinian filmmaker and journalist Rawan Damen in 2008 and transmitted on the Al Jazeera Arabic network. Now an English-Language version is being transmitted on their English Television network [Freeview 83 in the UK, with other language versions also available]. It runs for 200 minutes and is going out in four parts. Two episodes have already been transmitted but are being repeated.
Rawan Damen’s film is a fairly conventional television documentary using ‘talking heads’ and film and photographs. Much of the material and comment has been available in academic and historical publication. But now it is being presented in a fairly popular medium and it has the advantage of using visual material, which brings an increased power to the story.
The film starts with the Napoleonic invasion of Egypt, a key event that was analysed by the Palestinian writer Edward Said in his great work Orientalism. The first two episodes address the British occupation and Mandate of Palestine following the First World War. In was in that conflict that the new Zionist Movement achieved its coup of the Balfour Declaration – the British support for a Jewish State was seen as a way of ensuring the British presence and it’s interests across the Middle East.
It is difficult to decide which was more objectionable: the British colonial manipulation of a people and its lands, or the Machiavellian manoeuvrings of the Zionist in pursuit of a ‘Greater Israel’. Certainly the policies and practices of each have much in common. The British Mandate saw the use of house arrests and executions, concentration camps, house demolitions, the exiling of leaders and the harassment and dissolution of Palestinian institutions. Just as British laws from the Mandate still serve the Zionist State, so do the brutal methods pioneered by the British.
Episode two focuses on the Palestinian resistance and revolution from 1936 to 1939. This is a part of the tale which gives lie to Zionist clams of ’a land without people’; and claims that a Palestinian nation did not exist. It also highlights the weakness and limitations of the Palestinian and Arab official leaders. Their failings were to be an important aid to the Zionist take-over in 1948. The other was the development of the Zionist military forces, which were happy to use actions now loudly condemned as ‘terrorism’ by Israel.
Rawan Damen has added an impressive range of commentators, including both Palestinian and Israeli historians, and ordinary Palestinians including refugees from Al-Nakba. This and the impressive array of actual film from the period really create its effect. There has been excellent research to retrieve film that has not been seen for a long time, including material in the British Archives.
This is both an important documentary film and contribution to the struggles of the Palestinian people. Fortunately Al Jazeera tend to repeat their programme several times. So it will be possible to catch up with episodes one and two if you missed them. Episode three will take us to the key year of 1948. Definitely tune into Al Jazeera – the channel is worth watching for a different slant on the news.
[Note that their transmission times are given in GMT not in British Summer Time],
One of the definite achievements of British film culture, typically not celebrated by the national UK media obsessed by success in Hollywood, has been the development of Regional Film Archives to complement the National Film Archive. The Yorkshire Film Archive is celebrating its 25th Anniversary and it has recently merged with the North-East Film Archive to preserve a total of 50,000 film titles across the two regions. Several thousand hours of film, now part of the collection, came from a Bradford photography and film company set up by C. H. Wood which operated over eight decades before closing in 2002. The event at BIFF was presented by Graham Relton of the Yorkshire Film Archive who introduced a selection of clips across the range of productions completed by the company. The two sons of C. H. Wood who effectively ran the company from the 1960s onwards were in attendance.
I arrived late for the show and discovered a packed Pictureville Cinema with around 300 in attendance. I was lucky to eventually find a seat and although I missed a couple of clips, I’m sure I saw enough to appreciate what a terrific event this was. I should have guessed that there would be a large audience – my previous experience of these kinds of archive screenings has always been very positive in terms of audience reactions. We watched an extract from Crikey! (1947) a comic sequence from a film about Bradford’s traffic taken from a Road Safety film. Later we saw a 1980s public announcement film about the Green Cross Code with David Prowse (aka Darth Vader). C. H. Wood was well-known for aerial photography (and helped train photographers in the Second World War) but one of the main types of films made in the 1940s and 1950s were concerned with motor sports including motorcycle trial racing on the moors (this part of Yorkshire has produced world-class trial riders) and also Formula 1. We watched clips from the first win by a British Vanwall car driven by Tony Brooks and Stirling Moss at the 1957 Grand Prix held at Aintree, Liverpool – with pistons designed and produced by a Bradford firm! Other clips took us on a Wallace Arnold bus excursion and showed us all the various sports featured at Bradford’s famous Odsal stadium, the enormous arena that once reportedly held over 100,000 fans for a Rugby League Challenge Cup Final replay in 1954.
My two favourite clips were from a ‘works outing’ documentary and a corporate film for Lister, the Bradford textiles company. The works outing was from Salts Mill to celebrate 100 years of operation in 1953 and the large party took a railway excursion to Blackpool for the day. I now frequently visit Salts Mill and in 1953 I was a small child living in Blackpool, so this was a very personal viewing for me – and that is what archive film is often about. What was remarkable was the high quality of the camerawork and editing. Graham Relton told us that C. H. Wood became something of a ‘holder’ of films produced elsewhere in the city and this seems to be one of those films. We don’t know who operated the camera or who did the editing. In 1953 the 16mm cameras was an expensive piece of kit and the camera operator must have been trained. You can see the whole film (and others mentioned here) on the YFA website. What do you think of the footage?
The Lister’s film struck me as very revealing. The mill, a replacement for an earlier mill destroyed by fire in 1871, was the largest in the North of England. The Samuel Lister company was one of the major silk textiles companies in the world and Lister was a major innovator, especially in the production of velvet. The C. H. Wood film is a corporate promotion for the company. It reveals that everything in the production process was contained within the mill – which at one time employed 11,000 workers. We saw parts of this process, including the weaving of velvet and the testing of new dyes produced in the company’s own laboratories. In 1976 the company supplied velvet curtains to the White House. The business began to decline rapidly in the 1980s and the mill finally closed in 1992. I realised as I watched this colour film made in 1955 (30 mins with sound) by C. H. Wood just how much Bradford has lost because of the decline of the textiles industries in West Yorkshire. It wasn’t just the jobs in spinning and weaving, but all those technician jobs in the laboratories – and the associated engineering jobs.
At the end of the event David Wood answered questions from the audience, finishing by pointing out that the National Media Museum had been in Bradford for nearly 30 years and this was the first time he’d seen his films on the Museum’s screens. It’s good that omission has been put right and another similar event would be a good idea in future years. Meanwhile there is another opportunity to see archive films ‘made in Bradford’ on Friday evening at the Cathedral. There will be a posting on that event as well.