REELS OF

RESILIENCE
Project, which aims to:

• Develop new audiences for the BFI National Archive.

• Provide new access opportunities to moving images from the BFI National Archive.

• Contribute positively to the movement to build national, regional and local resilience in
the UK.

1. What I intend to do

‘Community is… creating something new which is based partly in people’s

memories, real or imagined, and partly in future visions of society’.1

I intend to take moving image material from the BFI National

Archive showing elements of the recent British past, and how we
lived then, and show it in an informal community context,
facilitating dialogue with and discussion between the audience on
what they notice and find significant. These screenings would be
free of charge to those attending.

The intention is to arrange this exhibition and discussion

opportunity with one of the UK’s Transition Initiatives2 who will act
as host, on the basis that this will help to facilitate local
conversations about community resilience, be an educative
experience for all participants (including myself and the
organisation of the BFI).

This is an experimental practice to try and find new ways of

facilitating communication on resilience and sustainability within
communities and draws on insights from the field of action research.
Evaluating and reflecting on the practice will be an important and
explicit part of the learning. These reflections will lead to proposals
for changes in practice, continuing a cycle of action research on
methods of both facilitating communication on resilience and
sustainability within communities and providing access to archival
materials. It will additionally, possibly lead to other new action
research cycles, as new areas of investigation emerge. This initial
project would be a case study.

In exhibiting film from the BFI National Archive in new settings, it is

also hoped and intended to attract audiences which might not
otherwise interact with the collection, especially, but not limited to,
people of differing ages from schoolchildren to the elderly and
people from a range of socio-economic backgrounds. In revealing
the past it seeks to make a positive addition to the information
influencing how communities shape their future.
This would be an alternate but complementary strategy to the plans
for education in the moving image outlined in the publication
Making Movies Matter3. Whereas Making Movies Matter explored
how the education sector might foster a cine-literacy based on a
critical formal understanding of film, video and television, this
project would form part of a different kind of pedagogy in which the
content of various moving image items performs a facilitative role in
the development of ‘reflective knowledge’4 whereby learners gain
skills in critical analysis applicable to a wider social context. The
project thus hopes to make movies matter in additional and
different ways. The project is influenced by the work of
educationalist Paolo Freire in his book Pedagogy of the Oppressed.
Specifically Freire’s concept of ‘code’, the use of a trigger requiring
interpretation, (in this case archival film) which in the process of
‘decoding’ reveals connections between the code and currently
lived experience and thus tends to encourage reflection on the
viewer’s own life5.
The case study would test out a new practice, developing and
strengthening the BFI’s existing work in film education. It would fill a
role, not currently catered for, of providing archival film materials
into the informal learning sector. It has the potential to be applied
more widely and to influence the work of others in the Museum,
Libraries and Archives sector as well as elsewhere and fits with the
objectives of the Museums, Libraries and Archives Council of
England’s Inspiring Learning for All framework6.

2. Why I want to do it

‘we need to help one another to re-member what has been

dismembered, re-vision how things could alternatively be, and
then organise to re-claim what is needed to regenerate the
community’, ‘the link between social history and present-day
liberation is both political and personal’7.

I am personally concerned with issues of climate change, resource

depletion and social atomisation and wish to stop being part of the
problem and to become part of the solution. To this end I am
attempting to make my life congruent with my beliefs, and have
asked myself the question “How can I bring what I know as a film
archivist and curator at the BFI to help address the social and
environmental issues that concern me, in a way that also benefits
that organisation?”
This project is therefore intended to be research ‘for me, for us, and
for them’8. In this context ‘us’ is understood to contain the us, which
is the organization of the BFI and its constituent staff learning from
this project, but also the ‘us’ that is the Transition Initiative hosting
the exhibition/discussion and the participants in that
exhibition/discussion. This research ‘aims to be active co-research,
by and for those to be helped’9. In this context ‘them’ is understood
to be others who may find interest and utility in the project and
what can be learnt from it including other archival/heritage
organisations, those acting for sustainability and the wider
community of practitioners engaged in action research.

Established archival film exhibition tends to follow a ‘hierarchical

mode’10 whereby the meanings of the films shown are given to the
audience by the BFI (by accompanying text and/or a presenting
speaker). There is sometimes time allocated for a short discussion
phase subsequent to the screening, but this is generally in the form
of a Q&A session in which questions are asked from the floor and
answered by the presenting speaker at the front of the auditorium.
The situation thus enacts what Paulo Freire has called “banking
education”, where in extreme cases ‘knowledge is a gift bestowed
by those who consider themselves knowledgeable upon those whom
they consider to know nothing’11. I have recently been introducing
screenings of ‘Housewives’ Choice’12, the BFI touring programme of
archival film showing in regional cinemas across the UK. In the
course of this I have experimented with opening the subsequent
discussion phase to a more open space where my facilitative role
became less that of expert in the hierarchical mode and more that
of ‘teacher-student with student-teachers… no longer merely the-
one-who-teaches, but one who is himself taught in dialogue with the
students, who in turn while being taught also teach’13 acting thereby
in a co-operative mode14.

This shift in mode produced interesting new situations, where the

audiences brought their own life situations into the discussion and
made connections with elements of the past noticed in the films and
the current world (e.g. in Chichester a group of women expressed
affinities between the austerity visible in the film and the “credit
crunch”). However, it was not entirely successful in breaking the
hierarchical mode due to time constraints in occupying the venues
post the screenings, the seating arrangements of auditoria and
podium encouraging a lecture hall experience, and insufficient
preparation on my part for acting in a co-operative mode.

Nevertheless, this experiment indicated both that commonalities

between experiences of the audience and content of archival films
provoked the expression of ‘generative themes’15 revealing the
audiences concerns and that lessons could be learnt in presenting
the material within a different context. Creating opportunities to
view material in more conducive spaces could bring new life into
archival film exhibition, while careful selection of material could help
facilitate dialogue within communities about issues of concern. A
number of synergies exist with the work of Transition Initiatives,
which offer an excellent opportunity to explore this form of
exhibition. The public events arranged by Transition Initiatives
frequently include film showings with subsequent space for
discussion, but thus far these have tended to be of contemporary
documentary material16. The importance of intergenerational
conversations is promoted, especially in relation to the skills and
experiences of the past that the elder community can be
encouraged to share and communicate17. There is also an
established wider interest in history and how knowledge of the past
offers important insights into our current situation18, explicitly
including images of the past19.

British non-fiction films of the first half of the 20th century reveal a
country a century or less ago set up very differently than it is now.
Films of the 1930s to 1950s in particular reveal concerns with
community and local resilience comparable with current concerns
(while concerns now are primarily environmental, those of the past
were born of economic depression, wartime isolation and post-war-
austerity). The concerns, recollections, and generative themes of
different generations might find a meeting point in issues raised by
these films.

The affinities, in particular, between the situation the UK faced

during World War II and the situation it faces now in the light of
environmental constraints are being increasingly noted. Whilst not
yet widespread, other heritage organisations have begun to
implicitly make these connections, in projects such as The Imperial
War Museum and the Royal Parks’ Dig For Victory; War on Waste in
200720. Literature for the exhibition noted that‘[t]he Dig for Victory
campaign was a response to a wartime problem of food shortages
that reflects concerns that we also share today – having access to
fresh healthy food, being active and living sustainably’21. The
Imperial War Museum has also engaged in a longer-term project,
with the support of the Big Lottery Fund, called Their Past Your
Future which encourages participation and concentrates on
supporting intergenerational conversations facilitated by heritage
items, the project website states that ‘[t]here is a strong focus on
developing meaningful contact between young people and veterans
of eyewitnesses of conflict, and on utilising the resources of UK
museums, libraries and archives to provide innovative and exciting
opportunities for learning’22.

The Transition Initiatives are also explicitly making the connections

between current experience and some of the national experience of
World War II. Rob Hopkins, a founder of the Transition movement
asks in his Transition Handbook ‘can we learn anything useful from
Britain’s last ‘wartime mobilisation’?’ and finds that ‘much can be
 learned from the experience of World War II’23. The wider movement
for sustainability in the UK has also made many allusions to the
experience of World War II, notably the Centre for Alternative
Technology’s ‘Island Britain’ scenario outlined in its recent report
Zero-Carbon Britain24. Hopkins has recently referred directly to film
from the BFI National Archive collection25 subsequent to viewing the
Bombs at Teatime compilation of touring material from the BFI
Mediatheque. I believe that film from a wider time frame will prove
equally utilisable and appropriate.

The opportunity to engage new audiences for BFI archival film in

new ways that will be participatory and serve wider social and
environmental objectives seems clear, timely, practical and
achievable. I have connections with several Transition Initiatives
and have recently been in contact with Rob Hopkins, who is
enthusiastic about the possibilities. In section 3, I outline how we
might proceed.

Summary of potential benefits:

• BFI: gains wider exposure; reaches regional audiences; reaches new audiences; meets core
aims; meets wider government agenda; learns more about the national film collection.

• Transition Initiative: gains wider exposure; reaches different elements of the community;
learns from the past; gains access to high quality materials

• Participants: learn about past; learn about moving image heritage; reminiscence;
conversations about community; inspiration; awareness raised about sustainability issues

• Me: relate my skills and expertise to social issues of my concern; gain an opportunity to

3. How will it work?

Nasrudin decided that he could benefit from learning

something new. He went to see a master musician. ‘How
much do you charge to teach lute-playing?’
‘Three silver pieces for the first month; after that, one silver
piece a month.’
‘Excellent!’ said Nasrudin. ‘I shall begin with the second
month.’26
The initial tasks will be to select films from the BFI National Archive
collection, which are appropriate to this opportunity and to begin
working with a UK Transition Initiative. Subsequently a screening
event will be planned and executed. After the screening a review
phase will be completed with a report examining what went well,
what was challenging, a future vision for what could be achieved
using the project method and proposals for the next achievable
steps in continuing the project nationwide.

3.1 Selection of material (now to April 2009)

I have begun the work of researching films already, with the

intention of producing a long-list of selections. I am keen that the
project should have a high degree of participation from our
partners, and that this should include their involvement in the
selection of material. I suggest that this occur after the long-list has
been filtered to exclude material that is currently difficult to access
due to technical issues and/or difficult to exhibit due to the
copyright of third parties.

In this initial case study we may therefore restrict selection to those

collections in which the BFI holds rights to exploit (Topical Budget
newsreel, Government films, British Transport Films, National Coal
Board films etc.) or which believes to be outside copyright term
(much produced until the 1930s). If budget is available we might
seek to clear material in which third parties hold rights, and this
should certainly feature in any subsequent development, as it would
greatly enhance the range of material available. Regional Film
Archives will also hold material with increased local relevance and
would make ideal partners at this and later stages.

Exhibition is likely to occur in unconventional and non-theatrical

venues; therefore material will need to be made available in a form,
which is widely useable. I suggest that the production of one or
more DVDs (DVDR may be suitable) with individual items accessible
separately with a simple menu structure. Additionally, or perhaps
alternatively, we may wish to make encoded files available as high
quality transcodes (ideally in both Windows Media and QuickTime
formats). As this material must be capable of exhibition via digital
projection, the transcodes would need to be higher quality than
those generally made available for web access and home use.

3.2 Choosing a UK Transition Initiative (now to March

2009)

For the purposes of this case study it is envisioned that the BFI will
work with a single Transition Initiative. Following a small-scale
request for expressions of interest, I have already received some
positive responses. We might:

i. Work with one of Transition Initiatives amongst the early

positive responders.

ii. Put out a larger request to the Transition Initiatives for

expressions of interest, this time addressed from the BFI
rather than me.

iii. Work with a Transition Initiative that is near to BFI staff and
the collections of the BFI National Archive.

iv. Collaborate with the founders of the Transition Movement to

establish a working model, choosing an Initiative they find
appropriate.

In the spirit of collaboration and in order to benefit from the

established experience of others involved in the process of
community engagement I suggest that option iv. is the most
advisable course of action.

3.3 Arrange facilitated screening event (March-June

2009) to occur (June or July 2009)

Once the Transition Initiative is engaged, representatives from that

Initiative should be brought into the process of selecting material for
a facilitated screening event.

The public event will need to fit into the Transition Initiative’s
schedule and the calendar of those involved (who will most likely be
voluntary participants), but the event will ideally occur in June or
July of this year. The stage of development of the Initiative will
dictate some of the particular qualities of the planned event, but it
is foreseen that the films will draw in an audience that should be
broader than those already involved in its work. I suggest that
facilitation of the event is largely handed over to the local
participants with support from a BFI representative (who is not
necessarily me) who can provide background on the films, and
general assistance.

The working plan however is to show a programme of archival films

interwoven with opportunities for, and encouragements to,
discussion amongst the audience in small groups or in plenary.
Discussion might be suggested to include: their thoughts about
what they have seen, memories that match or contradict the films,
considerations of how the locality has changed from the world
depicted and the reasons why. They will explicitly be asked about
how they felt about the event itself and whether they would be
interested in more events like it . The facilitation should be
empowering rather than directive.
The intention is that the Transition Initiative will arrange the venue,
equipment hire and promotion of the event – while The BFI should
assist where necessary and appropriate with advice and support.
The BFI should contribute to the production of promotional
materials, covering costs and providing design expertise with the
expectation that BFI branding plays a part in identifying its
participation in the event (this should benefit both parties).

3.4 Reflection, Feedback, Planning next cycle of Action

(July-September 2009)

Subsequent to the facilitated screen event I will complete a report

on what has been learnt from the project that might benefit or
influence the BFI National Archive, the particular Transition Initiative
worked with, the wider Transition movement, other heritage
collection organisations and myself in the future. The report will
specifically address this learning in relation as to how this case
study project might be scaled up to a nationwide endeavour.

Several sources will be used to contribute to this report, including

primarily:

i. The impressions recorded by the representative of the BFI,

who will note their own experience of planning the event, the
event itself, their subsequent reflections and what they might
do differently in future as well as any other suggestions.

ii. The representative of the BFI will also gather and record the
feedback and responses from the audience whilst attending
and assisting in the facilitation of the event. The number of
attendees and the general level of participation will be noted.

iii. Participants from the Transition Initiative will be interviewed

on their experience of the planning of the event, the event
itself, their subsequent reflections and what they might do
differently in future and any other suggestions.

iv. It is expected that the Transition Initiative will also be

engaged in gaining feedback from the event using methods
such as the ‘post-it note tool’, where participants are invited
to write short comments in response to suggested questions
and to place them up for viewing by other attendees. It is
hoped that with the participants agreement that this type of
information will also be shared.

3.5 Resource Issues

The major costs associated with the project are expected to be:
 i. The digitisation of selected material and the production of
DVD media.

ii. Production of publicity material.

iii. Staff time allocated to the project.

iv. Staff travel costs.

While these costs might be internalised, with much of the work

capable of being achieved in-house there is recognition that extra
funds would be welcomed. With its combination of heritage,
community, lifelong learning and sustainability elements the project
could approach several funding sources including the appropriate
Regional Screen Agency, the Heritage Lottery Fund, Esmée Fairbairn
Foundation and others.

The schedule outlined here would probably preclude funds being

available for this case study, but it could provide valuable evidence
and experience in support of a larger future funding bid in 2010.
1
Warburton, Diane ‘A Passionate Dialogue: Community and Sustainable
Development’ in Warburton, Diane (ed.) Community and Sustainable
Development; Participation in the Future (London: Earthscan Publications, 1998),
p.19
2
The Transition Initiatives are groups working towards local sustainability across
the UK, commonly organised at the town level. A website outlining the aims of the
Transition Movement is available here: http://www.transitiontowns.org/ (Accessed
13/01/2009). They have received wide public, political and media support, see for
example Lewis, Sarah ‘A Peak into the Future’ in The Guardian (10/09/2008),
online at:
http://www.guardian.co.uk/society/2008/sep/10/ethicalliving.transitiontowns
(Accessed 13/01/2009).
3
Making Movies Matter; Report of the Film Education Working Group (London:
British Film Institute, 1999)
4
Park, Peter ‘Knowledge and participatory research’ (2001) in Reason, Peter and
Bradbury, Hilary Handbook of Action Research (Concise Paperback Edition)
(London: Sage, 2006), p.88.
5
Freire, Paulo Pedagogy of the Oppressed (Revised edition. London: Penguin
Books, 1996)
6
http://www.inspiringlearningforall.gov.uk (Accessed 13/01/2009)
7
MacIntosh, Alastair Rekindling Community; Connecting People, Environment and
Spirituality (Foxhole: Green Books/Schumacher Society, 2008)
8
Marshall, J. and Reason P. ‘Research as personal process’, in D. Boud and V.
Griffin (eds.), Appreciating Adult Learning (London: Kogan Page, 1987), pp.112-
126
9
Wadsworth, Yolanda ‘What is Participatory Action Research?’ in Action Research
International (1998) http://www.scu.edu.au/schools/gcm/ar/ari/p-
ywadsworth98.html (Accessed 06/10/2008)
10
Heron, John The Facilitators Handbook (London: Kogan Page, 1989), p.66
11
Freire, Paulo Pedagogy of the Oppressed (Rev. ed. London: Penguin Books,
1996), p.53

http://www.independentcinemaoffice.org.uk/mediatheque_housewiveschoice.ht
12

m (Accessed 13/01/2009)
13
Heron, John The Facilitators Handbook (London: Kogan Page, 1989), p.17
14
Freire, Paulo Pedagogy of the Oppressed (Rev. ed. London: Penguin Books,
1996), p.61
15
See Freire, Paulo Pedagogy of the Oppressed (Rev. ed. London: Penguin Books,
1996) and Hope, Anne and Timmel, Sally Training for Transformation; A Handbook
for Community Workers (Rugby: ITDG Publishing, 1984)
16
Hopkins, Rob The Transition Handbook; From oil dependency to local resilience
(Foxhole: Green Books, 2008), p.154-155.
17
Ibid, p.170-172
18
Ibid, p.57-67
19
Ibid, p.159
20
Between May and September 2007 the Imperial War Museum and The Royal
Parks recreated a wartime allotment in St James’s Park with an accompanying
exhibition in the Cabinet War Rooms, which harnessed an audience from the new
enthusiasm for allotments. See
http://cwr.iwm.org.uk/upload/package/79/DigForVictory/index.htm (Accessed
13/01/2009)
21
Promotional leaflet for the exhibition ‘Dig for Victory; War on Waste’ (2008).
22
http://www.theirpastyourfuture.org.uk (Accessed 13/01/2009)
23
Hopkins, Rob The Transition Handbook; From oil dependency to local resilience
(Foxhole: Green Books, 2008), p.65-67
24
Helweg-Larsen, Tim and Bull, Jamie Zero-Carbon Britain; an alternative energy
strategy (Machynlleth: CAT Publications, 2007), p.46-48
25
Hopkins, Rob ‘Bombs at Teatime’ (13/01/2009)
http://www.transitionculture.org/2009/01/13/bombs-at-teatime/ (Accessed
13/01/2009)
26
Shah, Idries The Pleasantries of the Incredible Mulla Nasrudin (London: Pan
Books, 1975), p.82