Even if you never met Peter, if you are a film fan living in or near Leeds, then you owe him a heartfelt thank you. Peter was one of the trio of filmgoers who, in the early 1980s, founded The Friends of the Hyde Park Picture House.
“I have been involved with the cinema for many years, as I have been going there since 1975 and along with Xavier and Bob I am a founder member of the Friends . . .”
Xavier Chevillard was for many years the treasurer for the Friends. Bob Geoghegan was a member of the Friends’ Committee for years.
It was the friends who were instrumental in saving the cinema when the owners, the Robbins, decided to close. They campaigned successfully for the Leeds Council to rescue this local landmark and cultural venue and it subsequently became part of the Grand Theatre Trust.
It was the Friends, as part of the activities to support the Picture House, who persuaded Leeds Leisure Services, Yorkshire Arts and Yorkshire Television to support a Film Festival in Leeds, The first festival was organised by Bob Geoghegan together with a BBC colleague Janice Cambell. The Festival has continued and has become Leeds International Film Festival, held in November each year, and a notable event in the British Film calendar.
For many years Peter was secretary of the Friends; then in 2008 he took over as Chairperson, a post he retained until he died. He chaired all the meeting, including the Annual General Meeting held at the Picture House, in his own imitable style. From small beginnings the Friends developed alongside the cinema. When the Friends was formally constituted in 1986 it had about a 100 members. Now the membership runs at over 500. The Friends have also become a registered charity in order to improve their ability to support and fund-raise for the Picture House.
Over the years the Friends have supported and helped the Picture House develops its facilities and its programme. In the early 1980s they assisted when the current stage was added to the proscenium. In recent times they have provided funds to add to the digital technology used in projection. And the Friends also provided the pump-priming funding for the project, now funded by the Heritage Lottery Funds, to redevelop the Picture House. This will lead to a second screen in the old basement; proper facilities for the audiences: and (after years of such suggestions) the addition of a cafe/bar alongside the front of the Picture House.
The Friends’ membership have been active in other ways. For years they published a regular newsletter, ‘Hyde & Seek’. And they also commissioned and published a history of the Picture House; if you are interested there are, I believe, a few remaining copies. There have (intermittently) been social events, discussions on cinema and films, and extra screenings at the Picture House. An early event in the 1980s was a screening of D. W. Griffith’s Hearts of the World (1918 and starring both Dorothy and Lillian Gish) with a musical accompaniment as part of a World War I commemoration. Another memorable event was Derek Malcom from The Guardian interviewing Peter Ustinov. And, of course, there was also a ‘Laurel and Hardy evening’. For a period there was a monthly film club with fine examples of popular, art and independent cinemas. Included in the programme was the ever-popular The Apartment (1960), a film that has returned several times to the Picture House. There was also the classic British noir Brighton Rock (1948). Among the foreign language titles was the final film in Satyajit Ray’s great trilogy The World of Apu / Apu Sansar (1959). Now there are regular Friends screening; in June (to accompany the AGM), on Yorkshire Day on August 1st, and in the Christmas season. And they have a set of webpages for information, reports and film reviews.
Peter was an ardent cineaste; his favourite genres being horror, fantasy and super-heroes. He was a regular attendee at the now-defunct Horror/Fantasy weekends at Bradford’s Media Museum. He was also a fan of traditional cinemas. He had in earlier days been a viewer at the Lyric and Lounge Cinemas, both now gone. In recent years he patronised the Cottage Road Cinema, The Hebden Bridge Picture House and the Rex, Elland (near Halifax). As well as offering the charms and pleasures of traditional auditoriums all these cinemas still have and still use 35mm projection .
Peter will not be here to enjoy the facilities of the new developments of the Picture House, likely to be ready by the start of 2021. It is though, in a way, appropriate in that the as-it-is-now Picture House and Peter will pass on close to each other. The Friends intend to mark Peter’s contribution to the ‘new’ Picture House with a sponsored seat in the auditorium, in the place where Peter himself had a favourite spot. Before that the screening following this year’s AGM will feature a title from his favourite genre, ‘Let the Right One In’, (the original Swedish version not the unnecessary Hollywood remake). Gone but not forgotten.
Peter will be cremated at Cottingley Hall Crematorium on Thursday April 18th and there will be a celebration of his life at Christ Church in Armley, Leeds on the 18th at 12.15 p.m.
This title runs for 230 minutes, a challenging length that we know some punters find too long. So it was reassuring when fifty people turned up at the Hyde Park Picture House last Sunday for what appears to be the only local screening. Several people had to take pit stops during the film but [I think] only two members of the audience gave up before the end.
To start with the title; several characters tell the story of an elephant in Manzhouli, (a northern city right near the border with Mongolia and Russia) which just sits and ignores the onlookers, even when they attempt to feed it, prod it or similar. As the narrative proceeds various characters plan to visit Manzhouli to see this elephant. And the elephant does close the story, though in an unexpected manner.
The actual action takes place in a Chinese city which does not seem to be identified. It could be Shenyang, but that seems a little too far from Manzhouli, being near to the border with North Korea, The main action runs for less than a day, from about 6 a.m. to late in the day. A journey of indeterminate length ends the film. Where ever this is a bleak, exploitative and oppressive environment. There is not one really happy character in the film. All seem weighed down with the bleakness of the environment and their lives. The film opens in high-rise flats where the power is not on in all flats, where toilets leak and the grim concrete stairways lead out to an area of rubbish and decay. There are several strands in this story but what mainly drives the development of the plot is the injury and death of a school student and the ramifications that follow this.
If the characters seem desolate they also seem alienated in the full sense of the word. For much of the film the main characters are more introspective than social. When they do carry out actions involving other people it seems misdirected, illegal or just likely to go wrong. The characters are mainly working class though some fall on the boundary between working class and petit bourgeois. And some are genuine lumpen-proletarians. The writing of the characters and the performances are very good. They appear complex and their actions are sometimes surprising.
The film’s style mirrors the bleakness of the environment. The interiors are drab and low-key. And exteriors are fairly low-key as well; I do not remember any sunshine. The cinematography by Chao Fan was shot (I assume)with a Steadicam. There are full sequences that are presented in a single take. The narrative is elliptical. The editing by Bo Hu, the director, frequently cuts to leave a point unfinished. There are regular cuts between protagonists ins different settings, both partly commentating on the characters but also developing a certain mystery for the viewer in the unfolding of the plot. This is reinforced through the camerawork. Frequently the camera angle deliberately avoids showing an action or character. At one point, when a dog is mauled, this may be reticence but at other times it is clearly designed to make the viewer wait for information.
Bo Hu scripted, directed and edited the film so all of this treatment of narrative is his intent. In addition whilst the film appears to have a linear presentation the time frame seems ambiguous. There are the parallel cuts but others that seem to cross to different times. At one point a character’s mobile phone shows 1100; if that is the time the plot so far seems almost in real time. But the film does not run twelve or more hours. And at least one sequence in a café seems like a flashback as it is preceded by two other character observing the café, and possibly the two characters within.
This is unconventional but workable treatment. But on occasions the ambiguity seems excessive. And there are a couple of sequences late in the film that seem unnecessarily prolonged. Part of a similar strategy? I did think a scriptwriting partner could have made the plot development sharper, But that would have only shortened the film by minutes. It does seem to me that the form and subject of the film do justify the running time of over three hours. And the way that we follow the characters was sufficient reason to forgo an intermission, a point some of us noticed.
The elephant of the title seems clearly intended as symbolic as well as actual. One review sees the elephant as representing an indifference to the world, a world the film presents as cruel and painful. I did wonder whether it had a particular significance in terms of Chinese culture, but no review I found commented on this. It might be meant as a reference to the famous parable of the ‘blind men and the elephant’. There is a Buddhist version of this moral tale. Its relevance to the story here is that not one of the characters appear to understand the nature and causes of their plight. [I was reminded of this parable by a character in Koreeda Hirokazu’s The Third Murder / Sandome no satsujin. 2017). The director, Bo Hu, was a fan of Béla Tarr. Another review described them both as practitioners of ‘miserabilist’ cinema. Not really accurate. But Tarr’s Werckmeister Harmonies / Werckmeister harmóniák (2000) features a whale that seems to represent the alienation of the village setting; perhaps an influence.
This will be the only directorial credit for Bo Hu as he committed suicide after the film was finished but before its release. Suicide suggests that the despairing alienation felt in the film was a personal expression. How far this has effected the film we have is unclear. It has been reported that the producers tried to shorten the finished film by well over an hour. Fortunately it remains in what appears to be a mostly complete form.
The film was shot on 4K Redcode RAW and Dolby Digital 5.1. The version exhibiting here in Britain does not wholly reflect that. Partly this may be that it is distributed on a 2K DCP, in standard widescreen and colour with English subtitles. Some of the sound seems uneven and some of the interiors lack the contrast you would expect from 4K or from 35mm film. It remains a fascinating and powerful drama. It certainly reflects on the exploitation now experienced in China where capitalism has been restored. Compare the alienated characters with those in one of the dramas from the dawn of the Socialist Revolution in 1949 – Crows and Sparrows / Wuya yu maque, (both films are in Mandarin). The latter film has a real sense of community and people struggling together. Still, An Elephant Sitting Still is a worthwhile film to see and repays the time spent sitting in an auditorium.
This title is one of four films directed by Margarethe von Trotta being distributed by the Independent Cinema Office with support from the Goethe-Institut London and German Screen Studies Network. It is also the first one to be screened in West Yorkshire; at the Hyde Park Picture House this coming Tuesday January 15. Let us hope that it will be followed by the other three. This film was screened at the National Media Museum a couple of years ago. But two other titles, The Lost Honor of Katharina Blum / Die verlorene Ehre der Katharina Blum (1975) and The German Sisters / Die bleierne Zeit (1981), have not been seen for years. Whilst the fourth title, The Second Awakening of Christa Klages / Das zweite Erwachen der Christa Klages (1978) is getting it first British release.
This film is a biopic of one of the most important and in influential revolutionaries of the early twentieth century. Rosa Luxemburg was a lifelong critic of capitalism and the reactionary governments in her native Poland and in Germany where she worked politically. She was an important contributor to Marxist theory and analysis. Read her ‘Reform or Revolution’ (1900) now and sections offer an astute and detailed critique which applies directly to the recent 2008 crisis of capitalism. Most notably Rosa was one of the few Marxists, along with Lenin and the Bolsheviks and our own Sylvia Pankhurst, to oppose the imperialist war of 1914 – 1918. Finally she was murdered in 1919 after the failed Spartacist uprising.
[[See the recent demonstration to commemorate Rosa and Karl Liebknecht].
“Red Rosa now has vanished too. (…)
She told the poor what life is about,
And so the rich have rubbed her out.
May she rest in peace.” (Bertolt Brecht).
Von Trotta’s film covers most of Luxemburg’s adult life. It is selective, of necessity with a running time of just on two hours. The film opens in one of the many spells in prison; here in 1916 and then cutting to an earlier prison spell in Poland in 19106. This film continues to use changes in time to explore Luxemburg’s adult life. The key characteristics of Luxemburg are dramatised, including her break with the reformism of the German Social Democrats. Luxemburg spent a number of spells in prison and these show the steely conviction of this heroine. The film uses well chosen extracts from Luxemburg’s letters and speeches. The weakness of the film is that whilst it shows the complexity of Luxemburg herself it is not able to do this for her comrades and her enemies. The film does not attempt to explicate the Marxism of the period but concentrates on her battle within the German party and her opposition to the war. It details both her political and personal lives but does no completely integrate them. The film does emphasise Luxemburg’s political action as a woman; making it seem relevant to the present. But it also means that the male revolutionaries do seem pale by comparison. Oddly Lenin and the Bolsheviks only get one brief mention.
Luxemburg is played by von Trotta’s long-time collaborator Barbara Sukowa, who won awards in Germany and at the Cannes Film Festival. Deserved awards as Sukowa creates a complex character who generates sympathy but who also is a difficult person with whom to deal.
Margarethe, as is her wont, has also scripted the film. Her production team is, as usual in her films, excellent. The music, by Nicolas Economou, is orchestral and marks the more dramatic sequences. The cinematography is by Franz Rath, who also worked on the earlier films. The palette, given the subject and settings, is often suitably grim and gloomy. This is especially true of the prison sequences but at other times there are impressive long shots of Rosa against settings that are both realist and symbolic. The Film Editing is by Dagmar Hirtz and Galip Iyitanir in a film that has a complex structure, cutting back and forth in time and space. And the film’s look, with Set Decoration by Stepan Exner and Bernd Lepel and Costume Design by Monika Hasse, catches the period accurately. In the latter part them film also uses archive film to weave this biography into the seismic events at the end of the war and in the immediate post-war world.
We are still waiting for The Young Karl Marx to appear in West Yorkshire but it is good that the portrait of this outstanding and fascinating woman revolutionary is with us. And fortunately the film is of the quality that she deserves. The film is in standard widescreen and colour with English sub-titles. And the German transfers to digital are usually of a high quality.
As is fairly well publicised this new title is a production involving Netflix and they control the distribution. Their tendency to offer token or zero theatrical access is also well known and has caused controversy at festivals, notably at the major Cannes event. So Netflix have expanded [only slightly] the theatrical access for this film, presumably so the film is a contender for awards at important festivals.
This release had a screening in the Leeds International Film Festival this autumn. Oddly it was not in Leeds but at the Harrogate Everyman. I do not think this venue has featured in any previous Festivals. And, if it is designed in same manner as its partner in Leeds, then I would question the designation of ‘theatrical’. The festival’s web pages did not shed any light on this unusual programming. A friend told me that he was advised that the reason was that Netflix were insisting that screenings were in 4K and with Dolby Atmos sound system. [More on this later]. Apparently the Harrogate multiscreen is the nearest venue with these facilities. I did look up the title’s website, which had a function to check for convenient screenings. After checking seven of the cities or towns listed I found that I could see it in London on Boxing Day. This only started at 8.30 p.m. That would have cost me a return train ticket to London, an overnight hotel and two days away from home, [and my new housemate Dylan]. My colleague Roy Stafford has seen Roma and will be posting a review.
There seem to be several reasons why it is so difficult to see this film theatrically, already voted by the critics as the top title of the year in both Sight & Sound and in ‘The Guardian. One important facet has been set out with commendable clarity by Wendy Cook, General Manager, in the Hyde Park Picture House Members’ Newsletter;
“All the films we play in our cinema have a distributor of some kind. That will range from a large international company like Sony or Twentieth Century Fox to a small team of one or two people focussed on getting their film to the audience. They will understand their audience and the potential scale of that audience combined with the scale of the distribution … like the number of cinemas that the film play in, the marketing, how many screenings etc.
Netflix funded Roma, they are not however a distributor. They are not interested in reaching audiences through cinemas because they have their own platform and they want as many people as possible to engage with that. …
So, this year Netflix have initiated a strategy that gives some of their titles a limited release into Curzon Cinemas and handful of about three venues across Scotland and Wales.
This means is now open to the consideration of the major awards season but it is still not widely available for cinemas like us to book it.”
The cinema is one of a number of independent venues who have written to Netflix questioning the limited availability of this and other titles. [See the report by Screen]. It seems that the ‘window’ for theatrical exhibition is 3 to 6 weeks and exclusive to Curzon Cinemas. Curzon claim they only act as exhibitor and that bookings are through Netflix direct. So vast stretches of Britain and of the exhibition sector miss out. This is not helped by other players in the Industry. Screen International appear to have carried confusing reports on the issue. The Guardian suggested, erroneously, that the title would be available across Britain. The British Film Institute issued a Janus-style statement sympathising with the exhibitors but also praising the ‘availability’ via streaming. If my friend was rightly informed then the insistence by Netflix on certain technical standards for screenings would also be a major limitation.
I have so many objections to this, let me set out the important ones.
The rationale for Netflix’s stance on this has been surmised by some reviewers. Netflix operates a subscription streaming service.
“The company’s primary business is its subscription-based streaming OTT service which offers online streaming of a library of films and television programs, including those produced in-house.” (Wikipedia).
This service can be accessed across a range of products including computers, smart televisions and various mobile phones, Their prime interest is in signing-up more customers. This applies across the board. I went to look at their webpages and you can only access these by ‘signing up’.
The way Netflix organises access leads to restriction of trade, which means that would be customers for their commodities can only purchase via a highly controlled and selective environ. The EEC has already taken Google [and other internet companies] to task for what seem to be parallel restrictions. I am not a fan of the EEC but they would seem more likely to take media companies to task for similar practices than any of the British Parliamentary political parties.
Of course, restrictions of trade in film distribution and exhibition in Britain have been endemic since the Chaplin titles were used in an early form of ‘block booking’. Then as now the main culprits were US companies, as is Netflix, operating here. When the Hollywood studios were taken to task over anti-trust activities the market opened up. But it closed down again when the Reagan administration reversed these rulings. Currently in Britain the major distributors operate a series of restrictions including demanding the main auditorium, minimum bookings and priority over other titles. The latter tend to be independent and foreign language titles. Netflix’ partners in distributing Roma are Curzon who are very experienced in these type of actions.
At an aesthetic level there are questions of what exactly one gets for one’s money.
‘Devices that are compatible with Netflix streaming services include Blu-ray Disc players, tablet computers, mobile phones, smart TVs, digital media players, and video game consoles (including Xbox One, PlayStation 4, Wii U, Xbox 360, PlayStation 3, and Wii).’
This streaming apparently requires compatibility in 4K and with Dolby Atmos sound. And, of course, 4K on TVs and streams is not the same as 4K via a theatrical digital projector using a DCP;
’90 and 300GB of data (roughly two to six times the information of a Blu-ray disc’
And at present Blu-ray is superior to streaming,
‘it’s worth looking at the specifications for Blu-ray and streaming services. On paper, Blu-ray is certainly the quality winner, with the standard supporting video encoded using H.264 at a resolution of 1,920×1,080, delivered at a bit-rate of up to 40Mbit/s.
Compare that to Netflix, which is representative of other streaming services. It also uses the H.264 codec at a resolution of 1,920×1,080, but streams at around 12Mbit/s maximum. That’s a big difference between the two. To get its streaming rate down, Netflix has to throw away more detail in its video stream compared to the Blu-ray version ‘ [See ‘Quora’, ‘What Hi-fi’ and ‘Film-Tech‘ ].
Technical comments on sound suggest that there is an equivalent loss in audio reproductions.
The caveat in this quotation applies to all formats. Currently 35mm would seem to be superior to 4K digital but this depends on the source, the print and the projector. And similar facets would apply to Digital projectors, televisions and streaming equipment. But the mean would suggest that there is a vast difference in vision and sound between seeing something at a cinema and watching it on Netflix.
In a bizarre twist Roma, filmed on a digital format at 6.5K and using Dolby Atmos sound, has also been released [mainly in the USA] on 70mm film.
Several commentators have suggested that
‘this is the way things are going.’
My cinematic hearts ‘sinks into my boots’. Viewing life has got harder with the advent of digital. Titles that are shot processed with digital technologies vary considerably. Films originated on 35mm or 70mm or 70mmIMAX rarely have parallel contrast, definition or complete colour palette in digital projection.
Of course the entire film industry is about making profits from commodities, and surplus value. But Netflix is part of the expanded global system. 137 million subscribers round the world. Valued at a billion dollars for every million subscribers, [note, by the stock markets!]. Most notably leverage [debts] of over 20 billion dollars. [See Wikipedia]. At the level that such companies make deals the feelings and desires of actual audience members are inconsequential. Meanwhile the artists [or auteurs as critic love these days] are in hock to cultural capital. Seemingly as driven for the cultural aspect as the capitalist is for the value aspect. We have British film-makers working in the USA and mostly producing work that lacks the complexity and style of their home-grown products. And there are parallel examples from Europe and Asia. I like a lot of Alfonso Cuarón’s films, more so those that come from a culture in which he is [or was] embedded than from one of capitalist media behemoths.
Wendy Cook has seen Roma and thought it,
“a really magnificent and important film”
The Sight & Sound review by Nick Pinkerton praised both the black and white cinematography and the use of the Atmos sound system. Peter Bradshaw in The Guardian found it ‘dazzling’ and ‘inspiring’. Common mortals like me will have to take this on trust for the time being.
This was a programme selected by the Leeds Animation Workshop and screened at the Hyde Park Picture House. The occasion was to mark forty years of Leeds Animation Workshop and their total of forty films. Rona Murray celebrated and praised their contribution to both animation and women’s struggles over the years in a ‘thank you’. Before that we had a fine programme of animated films by women filmmakers from a variety of countries and in a variety of forms with a stimulating range of subjects.
No Offence, Leeds Animation Workshop (1996).
This was part of a series of films the Workshop made using the ‘fairy-tale’ form. In this case the topic was sexual harassment at work. In an original twist a Queen disguises herself as an ordinary female worker to investigate the behaviour of her managers. The tale includes reforms to end the harassment. The narrative is told with the distinctive voice of Alan Bennett.
Otesanek, Czech Republic 2017. Director Linda Retterová. 6 minutes
This film is an updated version of the traditional tale, ‘Little Otik’. There is an earlier version by Jan Švankmajer and Eva Švankmajerová (2000). This version is less macabre and the ‘Otik’ character is a carved trees stump in the form of a child. But s/he also devours everything in sight. The animation uses felt and embroidery as the materials for stop-motion.
The Black Dog (1987). 18 minutes.
This is a film by Alison De Vere who was a key figure in British animation from the 1950s until the late 1990s. The ‘Black Dog’ of the title is a shaman figure in a dream world which parallels work by surrealist artists. The fantastical settings are finely done and traverse a range of imaginative imagery.
The New Species, Czech Republic, 2014. Director Katerina Karhánková. 6 minutes.
The film follows three children as they attempt to identify a mysterious bone. On the way we also see representation of adult ways with children.
Phototaxis, USA (2017). Director Melissa Ferrari. 7 minutes.
The film uses the ‘Mothman’ myth from West Virginia; dramatised in the feature The Mothman Prophecies (2002). The film draws quite complex parallels between this and an addiction epidemic in the region. The film is fairly experiential in its techniques, including paper with superimposed pastels.
Black Soul, Canada (2000). Director Martine Chartrand. 9 minutes
In this narrative we see an older black woman and her grandson as she proffers examples of their cultural heritage. The film uses paint-on-glass techniques. The colours are luminous whilst the film’s trajectory is versatile.
Three Thousand, Canada (2017). Director Asinnajaq. 14 minutes.
This film combines newsreels [partly from the 1920s], ethnographic film and film of indigenous art work to explore the worlds of the Inuit peoples. It uses both animation techniques and film footage.
Nutag-Homeland, Canada (2016). Director Alisi Telegut. 6 minutes.
The film-maker is of Kalmyk origin. This people were formerly in the North Caucuses but now they are settled by the Caspian Sea. Their history is one of travails and forced migrations. The film presents poetic images of this through hand-painted frames.
The Fruit of Clouds, Czech republic (2017). 10 minutes.
Another film by Katerina Karhánková. In this a small colony of delightfully realised woodland creatures have an unusual diet. One brave individual finds an abundant source of this.
Own Skin, Leeds (2018). 3 minutes.
Geena Gasser and Saskia Tomlinson enjoyed an internship at the Animation Workshop. This hand-painted film examines the pressures of the body image.
They Call Us Maids: The Domestic Workers’ Story, Leeds Animation Workshop (2015). 7 minutes.
This film uses the actual experiences of migrant women works to expose the exploitation and oppression that they frequently suffer. The film relies on hand-painted water colours. It was commissioned by the Pavilion arts project and worked with Justice 4 Domestic Workers.
The whole programme was a rich palette of animation. There were a variety on techniques on show. And the subjects ranged widely as did the form of the films. Most of the titles had not been seen in Leeds before so this was a real treat.
Hopefully we will see more with a celebration at the Leeds International Film Festival of this important anniversary.
This programme at the Hyde Park Picture House is a celebration of the Leeds Animation Workshop on its fortieth birthday. The Workshop was inaugurated in 1978, though the collective had been working together since 1976 on their first film, Who Needs Nurseries. The fact that the Workshop has survived is itself a feat. The majority of the workshops and collectives from the late 1970s and 1980s have now disappeared though their members till contribute to Independent British Cinema. But the Animation Workshop have also been active in production, having produced a total of 40 animated films, one every year. A new work made with their support, Own Skin, screens in this programme. Animation is a slow and painstaking form of film, requiring care and attention to every single frame.
They have also produced a varied and imaginative range of films. Who Needs Nurseries, concerned with the needs of pre-school children, is an example of a campaigning film. Give Us a Smile (1983) is a powerful agitational film addressing issues of sexual harassment and violence. The experiences presented are based on real cases and the examples of reactionary male attitudes are direct quotes. These are interlaced with pictures, drawing, media quotes and songs. Through the Glass Ceiling (1994) dramatises this issue through a modern version of a classic fair-tale. As well as drama the film uses wit and irony. More recently They Call Us Maids: The Domestic Workers’ Story (2015) addresses the situation of migrant worker caught in a form of modern slavery. This was another campaigning film made with ‘Justice 4 Domestic Workers’. It uses beautifully produced water colour drawings as the basis of the animation.
Clearly one factor in the long survival of the Animation Workshop is commitment. But they have also remained adept at negotiating the shifting shoals of financial support for work that falls outside the commercial area of the film industry. Their first work was funded by the Equal Opportunity Commission. Their early years relied on the funding available from the system set up under the ACTT (ow BECTU) Workshop Declaration, which was supported by a range of organisations, including Channel 4. They also secured funding from the British Film Institute in this period. In the 1990s the Workshop tapped into the funds arriving from the European Union. They Call us Maids: … involved the Pavilion Arts Project, Leeds-based organisations and crowd funding.
The programme this coming Tuesday includes They Call Us Maids:… and No Offence (1996), addressing work-based harassment and using another modernised fairy-tale in a witty mode.
The programme also includes films by their colleagues in Britain and farther afield in Canada, the Czech Republic, and the USA. Apart from the pleasures of good animation work the selection will offer a variety of views on a variety of social issues and themes. The film-makers will have a chance to talk about their work. The complete programme is on the Picture House Webpages and the screening is also part of the current Scalarama Festival.
From September 26th until the 29th the Workshop will run a ‘residency’ at 42 New Briggate (alongside the Grand Theatre). This is the new venue of the Pavilion. There will also be an evening screening on the Thursday and a lunch-time talk on the Friday. Details on the Workshop Facebook Pages.
The film recounts the rape of a young Afro-American woman and mother in 1944 in Alabama by a gang of white men. This was before the period of activism known for ‘The Civil Rights Movement’. Rape of black women, like the lynching of black people, was common in the period dominated by the racist culture called ‘Jim Crow’. Recy’s struggle for justice was supported by National Association for the Advancement of Coloured People [NAACP] and by one of its field officers, Rosa Parks. Parks is famous for her role in the ‘Bus Boycotts’ in the 1950s. But this case was equally important in the development of black resistance to the racism endemic in the USA. The NAACP, committed to constitutional action, was for decades the lead organisation in the struggle for equality for African-Americans.
The central event in the film, an assault and rape on the 24 year-old black woman on a Sunday evening as she returned from a church service, is told through the filmed testimony of her family members and audio recordings of Recy herself. The perpetrators were six white teenagers. Though identified the local sheriff contrived to avoid any action. And Recy’s family home was terrorised and there were death threats when she pursued her claim for justice. These testimonies are intercut with contemporary footage, tending to impressionistic, of the settings, in darkness and with travelling shots that suggest a noir, even horror, feel. Alongside this are extracts from documentary film of the period and archive photographs. And as a distinctive addition clips from the ‘race cinema’ of the period and earlier.
The ‘race cinema’ operated from about 1910 to the end of the 1940s. It was a segregated cinema, in its production, distribution and exhibition, not just in the South but across the USA. Whilst it suffered from low production values due the poor economics of the business the films provided a potent experience for black audiences. The films presented black culture in its own estimation, valorised black heroes and heroines, vilified the lumpen proletarian elements in black communities and the racist white communities from which Afro-Americans suffered. The films dramatised the brutalities and inequalities of US culture in the period, including explicit representation of rapes and lynchings and the real violent face of organisations such as the Ku Klux Klan.
These clips provides a dramatic tapestry into which Recy’s story is implanted. And the film uses virtuoso techniques to increase the drama. There are fine superimpositions of archival footage over the contemporary film. There are montage sequences which interweave, factual and fictionalised renderings. And there is added to this a powerful musical accompaniment of sombre orchestral music and well-chosen songs from the African-American culture. Some of the characters in the events are now deceased and are voiced by actors. So the film is partly a drama-documentary and shares some formal aspects with the film of Ken Burns and his colleagues.
The film is directed by Nancy Buirski whose previous films include a documentary The Loving Story (2011) and a dramatised treatment, Loving (2016), of an inter-racial couple prosecuted for breaking laws against ‘miscegenation’. She scripted the film and skilfully orchestrates the various components. There is excellent contribution in the cinematography by Rex Miller and the film uses drone cinematography to great effect. Also deserving praise is the film editing by Anthony Ripoli; the visual effects by Aaron Hodgins Davis; and the work of the eight craftspeople in the sound department. To this the credits add a long list of researchers who must have combed all sorts of archives and collections as well as tracking down people to be interviewed. The film also respect the archive film and materials using their original aspect ratios.
Recy’s family member comment on the issues as well as recounting the events. In the latter stages of the film two contemporary voices add to this analysis: Daniel L. McGuire whose book At the Dark End of the Street: Black Women, Rape and Resistance – a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power details the whole violent culture which was inflicted on African-American women over decades. (Published in 2011 the book’s title is taken from a 1960s song.) And there is African-American historian Crystal Feimster. Their contributions place this story in the wider culture of racist violence and black resistance. In particular the film draws out the role of Rosa Parks, a NAACP field officer who took up Recy’s case and worked to develop a widespread protest that reached beyond the black communities. Rosa Parks is more famous for her role in the Montgomery ‘Bus Boycott’, The commentators emphasise how the campaign of support for Recy was equally important in the development of resistance by black people. They also emphasise how important was the role of black women in the movement, both in the 1940s and the 1950s despite the sometime over-emphasis on iconic male leaders. This argument is convincing but I would have liked more on the struggle in the 1940s. The film refers to one other campaign by another black women who suffered rape but the film implies more.
One difference between the 1940s and 1950s was, that whilst the bus boycott led on to increase action and results, in Recy’s case despite widespread campaigning she was not able to get a fair trial of her assailants. The first trial was a mockery and subsequently an all-white jury refused indictments. The film does note that in 2011 the Alabama State Legislature passed the following:
“BE IT RESOLVED BY THE LEGISLATURE OF ALABAMA, BOTH HOUSES THEREOF CONCURRING, That we acknowledge the lack of prosecution for crimes committed against Recy Taylor by the government of the State of Alabama, that we declare such failure to act was, and is, morally abhorrent and repugnant, and that we do hereby express profound regret for the role played by the government of the State of Alabama in failing to prosecute the crimes.
BE IT FURTHER RESOLVED, That we express our deepest sympathies and solemn regrets to Recy Taylor and her family and friends.”
Apart from the long and insulting delay the film, at this point, also includes interviews with white residents from Abbeville. They are aware of the events but are not really prepared to condemn them or offer praise for Recy’s struggle for justice. But we do see her, old and infirm, [in a residential home I think}, and she remains as resolute as she must have been in 1944. She died late in 2017. It seems unlikely that she would have seen this film’ tribute to her courage and resilience.
The film has a limited release into cinemas and is screening at the Hyde Park Picture House this week.
See more on Oscar Micheaux and the ‘race cinema’, including Within Our Gates, a film utilised in this documentary.
This is a compilation film which offers a distinctive representation of the North-East during World War I. The film’s centre is the Battle of the Somme which provided the key to funding. The première was held in the Sunderland Empire Theatre in July 2016, one hundred years on from the battle. This included live music and [I assume] live commentary. The film marries archive and contemporary film footage with a narration composed of both individual records and media reports.
The film was directed by Esther Johnson, whose work crosses between art and documentary. The film was written by Bob Stanley, a musician, journalist and film-maker. The archive film was researched ait the British Film Institute and the Imperial War Museum and at smaller archives in the North East. The voices of the film are diaries, letters and oral records by a number of individuals during and after the war, living in the North East in or around Sunderland and Newcastle on Tyne. These were read on the soundtrack by Kate Adie. The media reports, from the ‘Sunderland Daily Echo and Shipping Gazette’, are read by Alun Armstrong. These are arranged mainly in chronological order but at certain points the film changes to contemporary footage and voices.
I liked the film and found the interwoven stories fascinating. I was pleased that the film, in both black and white and colour, was in 1.33:1 so that the archive film footage was in its proper ratio. The contemporary footage, filmed digitally, is in the same ratio. The sound commentary by the two readers works well, interweaving official and public comments and reports with the personal and subjective.
The characters whose stories are woven into this chronicle include several woman, a suffragist and a conscientious objector. Thus whilst there is a certain amount of valorisation of the war there are also critical voices.
The editing for much of the film is excellent. There is cross-cutting between the official record and the subjective experience. And at certain points edits provide shock, pathos but also irony.
However there are also weaknesses in the way the film material has been used. Understandably there is little or no film of the ordinary people whose voices provide the narration. For much of the film the makers use ‘generic ‘ footage which fits the voices. Some of this is familiar from other compilations or from screenings of the actual titles; some of it is new and fresh. However, in the later stages there are a number of combined image and sounds which I thought a little anachronistic.
And there are two odd sequences in the centre of the film. Whilst we are watching and hearing the material on The Battle of the Somme there is a cut to several minutes of contemporary colour footage accompanied by a song. I think this is meant as a poetic counter-point but It seemed to me confusing. And shortly before this there was a sequence of shots which were repeated from earlier in the film and which [again] did not fit the narration. It was if a sequence had been transposed incorrectly, which may be to do with a transfer to DCP.
For most of the film the music is appropriate and works well. The performers include the Royal Northern Sinfonia and two musical duos from the North East, Filed Music and Warm Digits. The musical interlude during the Somme is sung by the Cornished Sisters. They all perform very well.
The Webpages for the film list screenings across the country; I saw it at the Hyde Park Picture House. The director was there for a Q&A, but I missed some of this so I am not sure if she discussed the form of the film. On November 11th, the anniversary of the Armistice Day at the end of the war, there is another screening at the Sage in Gateshead with live musical accompaniment. This will likely be the best way of experiencing the art work but it is worth seeing in the DCP version if that is accessible.