The current arrangement whereby Picturehouse operate the screenings at Bradford’s Media Museum [now Science + Media Museum] will be changing in 2019. I only discovered this from a friend who has a Picturehouse membership due to expire. He was advised he could only renew for six months as Picturehouse would not be renewing the contract with the Museum when it expires in October 2019. I have now done a little investigation and there are notices on both the Museum and Picturehouse webpages but I do not think you would notice them if you did not know where to look or what to look for.
The statement by Picturehouse, similar to that of the Museum, is as follows:
“Following four successful years, Picturehouse and the National Science and Media Museum have agreed to conclude our partnership when the current contract comes to an end on October 31, 2019. The National Science and Media Museum will continue to operate three screens, maintaining its commitment to a full and exciting cinema programme, including unique special events.
Picturehouse will remain dedicated to delivering Bradford’s high standard of cinema programming until October 2019 and will be focusing on our exciting nationwide expansion after the contract concludes.
No job roles have been put at risk and Picturehouse staff in Bradford have all been communicated with. The museum, which last year enjoyed a seven-year high in visitor numbers, will continue to provide a welcoming home to great cinema for regulars and new audiences alike.
We wish Bradford National Science and Media Museum the very best for the future and we thank them for the last four years of a successful partnership.”
For people with Picturehouse membership they have the option of renewal when due for six months. Unlikely to be an exact fit except for a fortunate few. The change by Picturehouse follows on from their ‘downsizing’ of projection teams in their venues.
This seems to be another example of the Media Industries unwillingness to inform or consult with ordinary people with an interest in matters. The Museum failed to have any discussions when they decided to contract out the cinema programme four years ago. One Manager at the time claimed there had been consultation. It turned out someone had spoken at one of the popular Senior Citizen Screenings on a Thursday morning. I am reminded of the recurring line by Lone Watie (Chief Dan George) in The Outlaw Josey Wales (1976).
Importantly, what will this mean for film fans in the area? The Picturehouse programming is close to the mainstream and certainly less varied that that operated by the Museum prior to the changeover. However, it is also true that Picturehouse have programmed in films not screened elsewhere in the vicinity. And they do still offer screening using the 35mm and 70mm projection equipment in Pictureville and Cubby Broccoli.
The film programme was contracted out because of the financial deficits at the Museum. It seems that it is now managed or certainly overseen closely by the Management at the main venue, The National Science Museum in London. This management do not display a great interest in either film or photography. The change of the Museum’s title [to Science + Media Museum] has, to my mind, been accompanied by a reduced focus on these popular media. There was the outrageous purloining by the Victoria and Albert Museum of a major photographic collection. And recent cinematic exhibitions have been small-scale affairs on the wall opposite the IMAX entrance. The Insight Collection has much reduced access: the staff still offer interesting material but their number is clearly reduced.
If the Museum returns to operating the film programme I doubt that it will resemble the impressive variety of former days. Likely alternatives to Picturehouse as a contractor are not obvious; the Odeon chain apparently turned down the opportunity four years ago. The Museum does still operate the Widescreen Weekend, but this is predominately a mainstream programme. European widescreen films are a rarity. And the other Festivals once offered have fallen by the wayside. What would be good, but seems unlikely with the present style of management, would be a discussion with local people and regular patrons of the cinemas.
Good news for discriminating film buffs – Picturehouse at the National Media Museum are now providing information when films are screening in the higher quality 4K DCPS. Thanks to the actual staff on the ground who have followed up this suggestion. The information is online in the weekly listings. The listings already shows films with Audio Description and in the IMAX format: the staff plan to add information on films in 35mm and when a digital version has 7.1 sound.
So Hail, Caesar! the Coen Brothers film which revisits Capital Pictures (see Barton Fink 1991) and classic Hollywood is in 4K. The film originated on 35mm so 4K will do this more justice, note though, only the Pictureville auditorium has a 4K projector, and that is necessary to project the full quality. Also, this is another film with changing aspect ratios.
Unfortunately, there are still relatively few releases on 4K digital in the UK. Hopefully if exhibitors pay more attention to the issue distributors may up their game.
For 35mm one will have to wait to March 23rd for a screening of Carol in that format. It is definitely worth seeing, the image is lustrous.
Yes, it is welcome opportunities to see films in their proper format, 35mm. The Hebden Bridge Picture House is starting a regular slot on the first Saturday of the month. And the next feature is the 1961 film, Whistle Down the Wind. This is a fine drama, with location filming in Lancashire by Arthur Ibbetson. Most famously it is one of the films that established Hayley Mills as a star. It was also the first film feature for Alan Bates, the start of an illustrious career on celluloid. There is [as usual in British films] a strong supporting cast and fine music by Malcolm Arnold.
This was one of the production efforts of Richard Attenborough when he was [with colleagues like Bryan Forbes] producing interesting and distinctive British films. It is a children’s story and a parable, very much offering their point-of-view on the adult world. As is often the case, including in a series of British films, this point-of-view asks questions about how adults regard their world. It is a definitely a film to be seen on the big screen.
Then the Hyde Park Picture House have the highly praised Carol on 35mm. This is on the same Saturday as Whistle Down the Wind, but fortunately it is also on the Sunday as well. Carol has been praised for the acting of the two leads, Cate Blanchett and Rooney Mara. But it also has a fine supporting cast and excellent production design by Judy Becker. What should be particularly well served by 35mm is the cinematography of Edward Lachman, who shot the film on Super 16 Kodak film. The adaptation follows closely the very fine novel by Patricia Highsmith, (for me, a fan, possibly her finest) but also adds a couple of significant variations. These serve the cinematic rendering of the story extremely well.
If perchance you miss the latter it is also screening at Picturehouse at the National Media Museum on March 23rd. The bad news so far is that there is no sign of The Hateful Eight on either 70mm or 35mm around West Yorkshire.
This event took place at the National Media Museum in the third weekend in October. As in previous years the event was extremely well attended. There was a programme of films and digital versions in CinemaScope, 70mm, Todd AO and Cinerama. Partly because I have to be careful where I sit at present [following an operation] I only made it across from Leeds on the Sunday. But the Festival was steaming along and friends filled me in on some of the goodies they had enjoyed.
What I did make was an illustrated talk by Pasquale Iannone on the ‘Widescreen Aesthetic’. He talked about the use of widescreen by film artists with a distinctive approach, including European directors and some US and UK directors. The latter included Richard Fleischer, Sam Fuller and Frank Tashlin.
However, his main focus was the European cinemas. So we had clips from The Ipcress File (Sidney J. Furie, 1965), Le Mépris (Jean-Luc Godard, 1963), La Dolce Vita (Federico Fellini, 1960) and Carnal Knowledge (Mike Nicholls, 1971). I assume he was using Blu-Ray sources, and the clips were pretty good visually: though The Ipcress File looked like the transfer was slightly fast and Le Mépris had poor definition.
However, the commentary and its illustration was excellent. There is clearly a very interesting study in the technical and stylistic usages of these filmmakers. This is CinemaScope practice which really exploits the format and provides interesting, and indeed at times challenging, visual imagery.
It would have been good to have an illustrative film in the programme. it may be that there were problems about availability, but one title, Jean-Luc Godard’s masterful Pierrot le Fou (1963), has been restored and is available. This is an aspect of the programming that I find a little limiting. The focus is very much on Hollywood, partly I assume because of the Festival’s constituency. However, only a couple of years ago we did have the very fine Goya – oder Der arge Weg der Erkenntnis (Konrad Wolf, 1973) from the DDR. And there are some very fine widescreen films from beyond the boundaries of the trans-Atlantic industries. One film which I think would be well worth viewing is the first Hindi film in CinemaScope, Kaagaz Ke Phool (Guru Dutt, 1959) with very fine black and white cinematography by V. K. Murthy. And the film has been restored and is now available in its original widescreen format.