This was a programme of short films at the Hyde Park Picture House with the support of the Cervantes Institute. The programme was organised by ‘cinemaattic’ and screened in a number of major cities. An annual event, the ‘Kimuak’ [Basque word for ‘sprout’] encourages film-makers to work in the shorter length format. We enjoyed seven films in a variety of forms and subjects from 2018. I have seen a few feature length Basque films in the past but this was an unusual and welcome opportunity.
Above 592 Meters (592 Met’roz Goiti, director Maddi Barber). In colour and 1.85:1, with English sub-titles.
This is a documentary about the construction of a dam in the Pyrenees which flooded seven villages. The title is the level of the water in the dam. The film opens with footage of the landscape and wildlife around the completed dam. Then the film explores the impact of the construction on one family that was displaced. There is some fine cinematography included a night-time electric storm. And the family are articulate with a photograph record of the displacement. I think the screening ratio was different from the original footage as there seems to be some cropping in the frame.
Mother (Ama, director Josu Martinez). In colour and 1.85:1 with English subtitles.
This is a short drama set during World War I. A wife and mother waits for a letter from her husband fighting on the Western front. When the letter comes she has to ask a neighbour to read this for her. Finely done with the cinematography and design creating the sad world of the past.
Still Fireflies (Ancora Lucciole, director Maria Elorza.) In colour and 1.85:1 with English subtitles.
The film opens with a reference to 1972 and Pier Paulo Pasolini lamenting the disappearance of fireflies. Then the title combines a voice-over addressing the possible extinction of fireflies whilst a child plays with an example in a jar. The ‘fireflies’ in the film are digitally produced and are vibrant against the varied settings, ranging from light to darkest shadows.
The Great Expedition (Espedizio Handia, director Iban del Campo). In colour and black and white and academy ratio.
This title combines images in a tapestry that contrasts heavenly images with more mundane human characters.
Kafenio Kastello (directed by Miguel Ángel Jiménez) In colour and 2.35:1 with English subtitles.
The title is set in Athens and the background is one of the frequent demonstrations against ‘austerity’ with street conflicts between protesters and police. However the characters in focus are a small group in an urban quarter concerned with more mundane problems of their relationships. The characters and plot are treated in a somewhat surreal manner with references to (amongst others) Tarkovsky and his Andrei Rublev (1966).
Do Not wake Me Up (No me Despertéis, director Sara Fantova), In colour and 2.35:1 with English sub-titles.
Set in the Basque city of Bilbao in 2009 the story follows a school student caught between nationalist activism in her school and her father’s role in the regional Government. The title catches the teenage milieu and the emotional contradictions experienced by this young woman.
Waiting (Zain, director Pello Gutiérrez). In colour and 1.85:1 with English subtitles.
This is a rather surreal presentation that reminded me most of the style and tone of the Swedish filmmaker Roy Andersson. This title has the deadpan humour and ironic style found in his films. A singer with a deadpan delivery is seen first with a musical group and then a solo musician. Meanwhile the audience watching gradually grows smaller. An enjoyable tone portrait.
An entertaining and fascinating two hours with an introduction from people and filmmakers involved in the programme.
The Hyde Park Picture House, supported by the University of Leeds and the Austrian Film Academy, hosted a selection of titles from the event (Österreichische Kurzfilmschau 2019). This was the third annual visit. The films are all nominees for the event’s film award. The programme screened in Leeds included:
Ars Moriendi Oder die Kunst des Lebens (The Art of Living, Kristina Schranz, Austria / Germany 2018). Running 29 minutes, in colour and 2.35:1 with English subtitles.
Rosemarie Achenbach is 93 years old. Time and again, she has found the strength to liberate herself: During World War II, she was trapped under rubble following an aerial bombardment, but survived. As a pastor’s wife, she was trapped by the expectations of patriarchal post-war society. After her husband’s death, she took her life into her own two hands. She completed her degree in philosophy and today she is writing her doctorate. She is writing about death, because “I am old enough for it”. This is both the portrait of a woman and the portrait of a century now past. Kristina Schranz’s title is well done. The subject, Rosemarie, was an impressive character. She celebrated her 93rd birthday in the course of the film with her children and grandchild. The cutting between home [personal] and the university [institution] worked well. And the framing of characters and scenes was finely done.
When Time Moves Faster (Austria/CA/GR 2016 7 minutes.
Amongst other things, the director’s, Anna Vasof, working method was influenced by pre-cinematic devices stemming from her fascination with the movement of photographic images. These only appear animated given our persistence of vision. Vasof cites the Zoetrope as an example of this phenomenon, a device that filled people of all ages with wonder at fairs of old. This work demonstrates Anna Vasof’s unbelievable pleasure in experimentation and simultaneously shares her delight in demonstrating the illusion enabled solely through the medium of cinema.
Excuse Me, I am looking for the table-tennis and my friend Entschildigung (Ich suche den Tishtennisraum und meine freundid, Austria/Germany … 2018). Running 23 minutes, in colour and 1.85:1 with English sub-titles
A film Bernhard Wenger about a couple on a wellness trip, where one partner disappears and the other isn’t sure whether he’s looking for her or himself. Within the bizarre world of the Alpine wellness resort, Aron begins a new chapter in his life. This had a rather dry humour and recurring tropes. I did think the ending could have been stronger.
Kids n Cats – Frizzle Frizz (Austria 2017). Running time 4 minutes, in colour and academy ratio.
The world of vain and self-absorbed characters gets flooded by gigantic insect legs. The director Patryk Senwicki offered a combination of stop motion and live action techniques filled with surrealist imagery and objects and accompanied by a song from a ménage à trois.
Der Sieg der Barmherzigkeit (Austria 2017), Running time 24 minutes, in colour, academy ratio and with English sub-titles.
Musicologist Mr. Szabo has dedicated himself to collecting archival material from the history of Austrian pop music. Due to an unfortunate coincidence, an original stage costume of a Viennese beat band from the 60s ended up in a charity clothing collection. To retrieve the rare piece, Szabo doesn’t shy away from a veritable break-in. His young, aspiring colleague Mr. Fitzthum helps him – not entirely voluntarily. Unlike Szabo he has a lot to lose: his job, his career and above all, his freedom.
Albert Meisl’s bizarre is tale full of dry humour. Szabo is a full blown eccentric. Fitzthum is a naïve victim of Szabo’s obsession. They are caught in a series of whimsical situations.
A good and varied selection of films. Previous years had more avant-garde examples but this year’s all fell into a recognisable genre.
“This year, from 7-10 September, Heritage Open Days is back to shine a light on England’s fascinating historic places. This annual festival celebrates our diverse history, architecture and culture, offering you the chance to see hidden places and try out new experiences all for free.”
On Sunday, September 10th, film fans had a chance to explore the Hyde Park Picture House as part of a Heritage event. Between 1000 and 1500 they could enjoy the beauty of the cinema auditorium, one of the finest surviving examples in Britain, with its distinctive gas lighting. There was screening a looped visual presentation of memorabilia associated with the cinema. And in the foyer a copy of the cinema Log Books donated by the family of one of the original founders of the cinema in 1916. This was the 1919 log book and included among the titles were films starring Geraldine Farrar. She was a star singer with the Metropolitan Opera in New York and launched into films in Cecil B. De Mille’s famous version of Carmen (1915). By 1919 she usually worked with the director Reg Barker in productions with the Goldwyn Company.
There were also conducted tours of the Projection Room every half-an-hour: including the 35mm projectors. The Cinemeccanica Victoria 8 projectors came from the Lounge Cinema [sadly converted into bars and fast food outlets], fine specimens of a species that is in danger of extinction. These tours are a little like the recently screened German silent film, Berlin: Die Sinfonie der Grosstadt (1927): just as the Berlin of 1927 is no longer, the Picture House will soon be remodelled thanks to a Heritage Lottery Fund Award.
Appropriately there followed screening of 35mm films. These were all the work of the ‘Poet of British Cinema’, Humphrey Jennings. This was package prepared by the British Film Institute from the National Film Archive and titled ‘Their Finest Hour’. Jennings films are beautifully crafted and imaginative portraits of Britain in the 1930s and 1940s and combine vision and sound in a distinctive manner. They display often unexpected juxtapositions, a sign of Jennings’ admiration for the Surrealist Movement.
The programme opened with a documentary influenced by his work with the Mass Observation Movement and then offered three of his wartime films, the period when he achieved the peak of his poetic representations
First was Spare Time (1939, 13 minutes) which visits several regions in 1930s Britain to examine the culture of ordinary working people. The commentary is by Laurie Lee, another poet. The film mirrors the anthropological concerns of Mass Observation. This is very much an observational mode. Jennings and his team of the cameraman Henry Fowle and sound recordist Vorke Scarlett worked for the GPO Film Unit under producer Alberto Cavalcanti. The film was commissioned for the British Pavilion at the New York World Fair. In a sense propaganda for the ‘US cousins’, a stance that was part of Jennings war work as well.
This is what is has been termed an ‘associational documentary’. It lacks the explicit social commentary of the Griersonian films, relying more on the connections between people, objects and settings. The theme in the words of Laurie Lee offers
“as things are, Spare Time is a time when we have a chance to do what we like, a chance to be most ourselves”
So there is an sub-text about labour and working people. This is reinforced in the visual style of the film where actual labour tends to appear in static shots whilst camera movements are more likely for people’s leisure activities.
There are three sections. In Sheffield we meet the steel industry and then the pastimes organised round the three-shift system. We see and hear a local brass band, visit a pub, see the walking of whippets and the release of pigeons, a cycling party and a crowded and popular football match.
Then to Manchester and Bolton where the cotton industry is based with weekend leisure. The most famous sequence of a Kazoo band was most likely shot in Rotherham and before the production included Jennings. Then we visit the Belle Vue Zoo, see children in the street and a ballroom where the dance floor soon fills with the couples circling to a band.
Finally we visit Pontypridd and the coal collieries. A hooter accompanies the pithead and then the evening fun at a fair. The sequence is mainly in low key lighting. An amateur choir assembles and starts to sing Handel’s ‘Largo’. The music follows as the camera shows us streets and shoppers, then a youth club match and, as the evening passes, the start of mealtime.
The various musical troupes overlap the visual source to provide the accompanying track, punctuated by industrial noise. The film opens and closes with recorded music and the words of Laurie Lee. He also introduces each section The inconspicuous camera records the events, at one point observing as the pianist with the choir slips out of her coat whilst commencing the accompaniment. We see a family preparing to dine on a magnificent meat pie. There are several relaxed scenes in public houses. The Welsh section includes a notable tracking shop down a street. otherwise the camera relies mainly on long shots and ‘plain American’, with straight cuts and just the occasional dissolve. The film was edited by Jennings, there is no other person credited. And the cuts between sequences weaves a tapestry whilst the commentary sets up the separates sections and the finale.
Then the wartime film Words for Battle (1941, 8 minutes): documentary footage of Britain during the Blitz is accompanied by a selection of poetry and prose read by Lawrence Olivier.
The film was produced by the Crown Film Unit under the auspices of the Ministry of Information. This is a ‘compilation’ documentary. The film intercuts short scenes of town and rural life – Westminster Abbey, evacuated children in the countryside – with scenes of military action, fighter pilots on an aerodrome, destroyers at sea.
The film appears to be completely based on ‘found footage’. it was constructed by Jennings with Stewart McAllister as editor. McAllister is a key member of the production team in the war-time films and brings a precision to the cutting of and between images,. He also brings a complex treatment to the tapestry of sound that accompanies the images. The war time films directed by Jennings use noise and music as well as words and this melange is increasingly complex. The soundtrack includes music by Beethoven and Handel, but the important part is the prose and poetry read by Olivier.
The C16th Britannia accompanies a map from that period. Then we hear selections from John Milton, Williams Blake, Robert Browning and Rudyard Kipling: a rather unusual combination. The film moves on to Winston Churchill’s famous address to the House of Commons ‘We shall fight on the beaches’, [also featured in the recent ‘Dunkirk’]. And finally we hear words from Abraham Lincoln’s Address following the Battle of Gettysburg. The last opines widely held beliefs in ‘western democracies’. But the word accompany tanks passing the statue of Lincoln in Parliament Square: a clear pitch to the allies across the Atlantic.
The Silent Village (1943, 36 minutes) is a retelling of the massacre by the Nazi occupiers of the Czech villagers of Lidice [a mining community] in 1942. This was notorious event carried out as retribution for the assassination of the Reich Protector Reinhard Heydrich. Jennings and his team relocate the events to a Welsh mining village (Cwmgiedd) with the local inhabitants playing the population under Nazi occupation and becoming the victims of their terrorism .
The suggestion for the film was made by exiled Czech officials to the Ministry of Information. This was a Crown Film Unit production. Jennings is credited with both script and direction. And his colleagues on the film are the familiar and experienced team, with Stewart McAllister as editor, H. E. Fowle as cameraman. Ken Cameron is the sound recordist.
The film opens with an aural and visual introduction to the world of a mining village in a Welsh valley. This is typical of Jennings work and it weaves sounds and images to produce an effective portrait of the mining community. The film uses both English and Welsh, without any subtitles for the latter language: in fact, the words are not necessary. This, as in other wartime films, uses ‘actual sound’ as well as ‘found sound’; an important aspect of the films. Then the German occupation arrives. As the narrative develops their repressive tactics increase. With the news of the assassination we reach the stage of reprisals. This involves the deportation of women and children and the murder of all the adult males. We do not see the actual execution but hear the gunfire as the men defiantly sing ‘Land of our Fathers’.
The entire cast are non-professional and the film is a fine example of how effectively Jennings and his team work with ordinary people. The sense of place is reinforced by the coupling of images of people with images of settings and objects which combine to effect a sense of a recognisable place and community. The accompanying sounds – industrial, domestic, rural – add to the effectiveness of this.
And finally Listen to Britain (1942, 20 minutes) is one of the true masterpieces of British cinema. Jennings and his colleagues weave a tapestry of documentary footage, dialogue, sound and music to present the Home Front of a Britain at War.
The production team is the now familiar one – McAllister, Fowle, Cameron – with an editor at the Crown Film Unit, John Krish, assisting. Once more we have the inter-weaving of actual and found footage with actual and found sound, including recorded music. And once more Jennings and his team display their unrivalled ability to capture ordinary people carrying out ordinary actions: though in extraordinary times.
The film opens with a pitch to the North American audience by Leonard Brockington. But then we move into the film proper, relying completely on the sounds and images of Britain and its people.
It is evening and we are presented with the British countryside. Then a Spitfire flies low over the scene. The film progresses through the night and on to the evening of the following day. In the course of the film we see countryside people, town and city people, factory workers, troops and the military. And we see these people both at work and at play. Among the famous settings are a grand ballroom packed with dancers; a wartime factory and the lunchtime canteen concert; in parallel the National Gallery in London and a concert of classical music. This provides a seamless tapestry of British wartime life. The film glosses over differences of class, gender and place. The one anachronism, as the film ends we hear ‘Land of Hope and Glory’ on the sound track: a false note which I suspect was dictated by producers rather than the actual filmmakers.
All these films are in black and white. They famously made Jennings an undoubted ‘auteur’ for British film . But the subtle developments apparent in the war-time films point to the importance of the contributions by Fowle, McAllister and Cameron. Jennings would seem to bring an overall form and the recurring themes.He has been criticised as ‘patronising’. But I think it is more that he remains an outsider but one with real empathy for the subjects of the films. What is apparent is that the films offer an ‘imagined community’, smoothing out troubling wrinkles and contradictions such as class. The war time films in particular embrace the notion of ‘A People’s War’; a concept that is closer to notions of propaganda than actuality. But the films do generate a sense of authenticity that was powerful at the time and which remain abiding images of Britain’s past.
This is a compilation of short films shot in the British countryside (and in the north of Eire) between 1904 and 1981. It is part of the Britain on Film series which has already offered Railways and has a forthcoming compilation Black Britain. This is an archive project to ‘digitise’ thousands of films, originating on celluloid, and making them available for public viewing. These ‘tours’ are distributed by the Independent Cinema Office, who have an excellent track record of providing features and archive material to independent cinemas. I saw this compilation at the Hyde Park Picture House as part of the ‘Leeds Young Film Festival’.
Before the film we had an interesting introduction by Kate McGann, a curator with the National Film Archive in the documentary section. We had some notes with details of the films included in the compilation but she added some particular comments on especially interesting aspects. Her main thrust was to provide a context for these films. She commented that much of the period represented on the films had seen real ‘change and upheaval’ in the countryside. An aspect that is the focus of Laurie Lee’s memorable ‘Cider with Rosie’: Lee provided the commentary for one of the films.
She also talked about the changes in technology and style across the films. Cecil Hepworth, who made the earliest film in the programme, would have been working with bulky cameras, and the supporting equipment like tripods etc. It seems likely that he staged much of the action, seemingly merely observed. And since synchronised sound only arrived in the 1930s several film rely on title cards [intertitles] to provide information for the audience.
A little later Basil Wright, filming in the Cheviot Hills, was able to work alone with his camera and accessories, but the now available sound would have been added later in the studio. Both these films were in black and white. But another example from the Pathé Company used colour stencilling, one of several techniques like hand painting and tinting/toning for adding colour.
By the 1950s colour film stock had become available and the Technicolor brand offered a rich palette of colours on screen. We had two films that used this technology. (Note, you can see one of the Technicolor Cameras at the Insight Collection at the National Media Museum. Signposts re Science and Media Museum).
The camerawork in many of the films relies mainly on the static shot. As technology developed camera movements like pans and tracks became available. All the film used some sort of editing (cutting between shots), though the later films are more sophisticated .
The programme also illustrated a number of genres in what we now term documentary. The earliest would have been known as ‘actualities’. Early on there were also Newsreels, and there was an extract form one of these. And there were examples of ‘travelogues’, ‘marketing films’ and ‘public relations’, both commercial and state funded. Some of the later films came from television networks and a couple of films really fall into the amateur or ‘home movie’ category.
The compilation ran for 75 minutes. It was partly chronological but partly thematic.
“Machynlleth (In the Heart of Cambria) | Dir: unknown | UK | 1929 | 2 minutes
This glorious Pathécolor film of the ancient capital of Wales pops with the beauty of rural life. “
This short film was essentially a travelogue. It offered a series of shots, beautifully coloured with hand stencils. These included shots of a valley, river, trees in blossom and sheep grazing.
There was an accompaniment on the sound track by piano and flute.
“O’er Hill and Dale | Dir: Basil Charles Wright | UK | 1932 | 18 mins
The first sound documentary produced in the UK, this is an affectionate and at points humorous account of a Scottish shepherd’s daily life in the Cheviot Hills.”
Basil Wright has been described as a ‘humanitarian poet’. He was a member of the rightly famed British Documentary Movement. The film mainly uses single static shots with a couple of pans over the landscape. But Wright (filming himself) makes extensive use of angles, especially low-angle shots that emphasise the scale of the mountainous vistas. He also (later in the studio) edited the film into a mini-narrative. So after seeing the Shepherd, Martin, with his flocks drama ensues when a storm sweeps across the hills. This leads into a ‘happy’ ending with a lamb saved from expiring.
The commentary, by Andrew Buchannan, and the orchestral accompaniment were added later. And the film was seen in British cinemas courtesy of Gaumont British.
“Great Hucklow Jubilee | Dir: L. du Garde Peach | UK | 1935 | 9 mins
These gorgeous scenes of Great Hucklow capture the Derbyshire village’s preparations for the celebration of King George V’s Silver Jubilee, presenting a charming portrait of life and laughter in the Pennine village.”
This is an example of amateur filmmaking in the period. L. du Garde Peach actually worked in the Film industry as a scriptwriter. One of his most famous contributions was co-authoring the 1935 Yorkshire -based Turn of the Tide. Here though he is showing off his locality and the Village Players whom he organised.
The film uses intertitles and was accompanied by a piano and percussion on the soundtrack.
“‘Dry Village’ | Dir: Unknown | UK | 1964 | 5 mins
A cautionary tale of the ‘dry village’ of Bessbrook, Co. Armagh, whose founder believed that the absence of a pub would remove the need for both the police and pawn brokers.”
This appears to be an ironic offering from television reporter James Boyce, presumably working with a network team. The film offers a series of interviews and comments. Boyce’s offerings for viewers appear to have capitalised on the eccentric, this is a good example. There is no hint of the ‘troubles, only a few years away.
” The Village Pet | Dir: Unknown | UK | 1931 | 1 min
After Billy the seal was caught in the Wash and rehoused in the village pond, this heart-warming newsreel item shows him tentatively accepting a fish supper from his adoptive family – the good folks of Warham in Norfolk.”
This is an extract from a ‘Topical Budget’ newsreel; a newsreel series that ran from 1911 until 1931. The film opens with a highly embroidered intertitle. Then we meet Billy and the village inhabitants, especially the children, enamoured with this occupant of the pond.
The film has an accompaniment by piano and accordion.
” West of England | Dir: Humphrey Swingler | UK | 1951 | 10 min
Glorious Technicolor casts a dreamlike spell over Gloucestershire’s Stroud valleys in this gorgeous short film. Author Laurie Lee contributes to the script for a narration which accompanies painterly images of evergreen scenery, people and industry. “
This was a fine example of the lustrous palette found in Technicolor. The commentary is read by Stephen Murray. The film is full of glorious shots of the Stroud Valley, old buildings and a graveyard, valley slopes, smooth rivers and nestling tress and flora. Later we enter an old linen factory where the rich colours of the cloth exploit the colour process. The film is edited into a gentle narrative. The opening shows a horse and rider wending their way down hill. There follow later some good example of forward and reverse tracking shots. The commentary proposes a ‘secret’ which is followed till we hear and see an explanation of the Stroud cloth industry. At the end the horse and rider wend their way back uphill; then a cut shows us a modern tractor, presumably as comment that Stroud is modernising.
The commentary and orchestral accompaniment were added at Merton Park Studio,. And the film received a cinema release from United Artists.
” Cold War Villages | Dir: Unknown| UK | 1981 | 3 min
In 1981, with no end to the Cold War in sight, plans are afoot in the Midlands to prepare for nuclear attack. These include a bunker for 400 people in a Rutland village with a population of 300, while in Derbyshire a local landlord takes responsibility for the somewhat simplistic advance warning system.”
This looks like one of those programme fillers in regional television broadcasts. The reporter, Terry Lloyd, introduces two mini-stories related to ‘the nuclear threat’ with interviews with local people. Rather like the ‘dry village’ this looks like an ironic comment on eccentricity, possibly even invented. By 1981 (despite the 1984 TV film Threads) the nuclear question was less of an issue than that of US missiles based in Britain.
The first case is a plan to turn a disused Rutland railway tunnel into a commercial bunker; £2,000 for a single person. Predictably it was never built.
The second tale is a Derbyshire pub with an ‘early warning system’. Among the limitations of this device are the absence of a warning device. There is (almost certainly staged) film of the publican warning the village on his bicycle. It seems the village was spared a nuclear attack.
“Any Man’s Kingdom | Dir: Tony Thompson | UK | 1956 | 5 mins (extract)
A standout from the British Transport Films collection of travelogues – this one highlighting the attractions of Northumberland, the northernmost part of England. In this extract people travel from far and wide to enjoy the delights of Bellingham Fair, which includes traditional Cumberland wrestling.”
This film has a commentary and an orchestral accompaniment with actual sound including traditional pipes. It offers shots of the people attending this traditional fair and of some of the attractions. There is a fine sequence of a country dance edited through a series of close-ups of the band and the dancers. Towards the end of this extract twilight falls and a young couple are seen in silhouette followed by a pan over a river. The film, in Technicolor, was finalised at The Anvil Studio.
“Blacksmith | Dir: Peter Baylis | UK | 1941 | 5 mins
‘Things aren’t what they used to be’: Mr Bosley, village blacksmith at Corfe, near Taunton, is the subject of this nostalgic study of ancient craftsmanship. As his commentary talks us through the process of shoeing a horse, the patiently composed images gracefully evoke an ageless sunlit Somerset day.”
The film was part of a series on ‘craftsmen’ by the Shell Film Unit. This commercial film’s documentary unit was launched in 1934 and carried on to the present, now ‘The Shell Film and Video Unit’. Its output of mainly short films was an important contribution to British documentary. This film follows a farm horse into the forge as we watch the traditional techniques of shooing in a series of close-ups and mid-shots. .
“Eardisland Village | Dir: Unknown | UK | 1978 | 5 mins
The residents of Eardisland, a picture postcard Herefordshire village, are unhappy about their impending conservation status which would curtail new development. How can a village continue to thrive with an ever ageing population and no new blood?”
This films is from ATV’s ‘Today series’ with reporter Peter Green and shot in colour.
The camera takes us round the village and a series of interviews with inhabitants. There are few young people and ‘conservation’ threaten to embed this further. The catalyst for this concern is the proposed closure of the village school. Added to this is the comment that they have even
‘taken the vicar away’.
Despite the film the school did close in 1979.
“Day in the Hayfields | Dir: Cecil M. Hepworth | UK | 1904 | 3 mins
Enchantingly beautiful, Cecil Hepworth’s modest interest film captures the essence of an English midsummer and the harvest in a time before tractors with men cutting hay using a horse-powered reaper. Less productive but very charming are the local babies and toddlers playing in the cut grass.”
Cecil Hepworth is one of the most important pioneers from the early days of British cinema. One of his most famous titles was a the key contribution to canine cinema, Recued by Rover (1905). Here he is filming on location alongside the Thames near to his studio at Walton-on-Thames. The film offers a series of static shots, almost like tableaus. we see the harvesting, transport by horse and cart, and the local children playing.
There is an accompaniment on piano and accordion, as lyrical as the film itself.
“Skating on Lough Neagh | Dir: Unknown | UK | 1963 | 2 mins
As the Big Freeze plays havoc with the working life of Northern Ireland, there is plenty of time for play. The frozen Lough is a call to the adventurous and the ridiculous as dogs, dancers and even drivers take to the ice.”
This appears to be either amateur footage or something filmed for a local television network. It appears that it is actually the ‘Black Lough’ at Dungannon. And like some earlier films it is partly a record of oddities and eccentricities, including a group performing the twist and a mini car travelling over the frozen lake.
The end credits of the compilation include Stephen Horne who performed the musical accompaniment for the films without soundtracks. Stephen is a multi-instrumentalist as demonstrated in the accompaniments.
The films came courtesy of BFI National Archive, the Media Archive for Central England and the Northern Island Screen Digital Archive.
They were all transferred on to a 2K DCP. All were in either 1.33:1 or 1.37:1 ratios. The image quality was generally good. Note, as usual the DCP was in 1.85:1 and the titles for the individual films was spread across the complete frame; this was a shame as it prevented the cinema bringing in the masking to the Academy ratio. The sound was variable, presumably partly due to older prints and also to transferring optical or magnetic tracks on to digital.
Definitely a programme worth seeing. And there is more information about the films, the series and ‘Britain on Film’ at the BFI.