MACE’s Director James Patterson To Present At Archiving Tomorrow 2015


James Patterson will be presenting at the Archiving Tomorrow Conference which will be taking place in Birmingham on the 12th and 13th March.

The conference, in association with FOCAL International and hosted by The Kaleidoscope Archive, will bring together Archivists, Curators, Academics, Film Makers,  Editors, Producers, Directors, Technologists, Researchers and Archives, to discuss, debate and learn about the in-depth revolution that is the transitional period between Film and Digital.

Through interviews, presentations and workshops, all aspects of filmmaking, archiving and restoration will be examined along with the legal implications and economics behind the business of film.

Please visit www.archivingtomorrow.com for more information.

An Institutional Delegate Rate will be available to contacts of MACE .

Screen Heritage and the Big Society…the challenge for the public film archives


Screen Heritage and the Big Society…the challenge for the public film archives

by James Patterson, MACE Director

The Media Archive for Central England Film Store

(This is an edited version of a paper delivered to “Film Heritage, Digital Future”, a conference held at Birmingham City University 4/3/11.) 

The last time I wrote about how I saw the challenges for the film archive sector was nearly 2 years ago. It was not the first time I had written about the subject.

 I’m writing about it again and I suspect that it won’t be the last time.

 And why would it be the last time? The film archiving itself is always challenging, the approaches we take as archivists are always developing and the context in which we operate – the political context with a small p, and in consequence the funding context, is always in flux. So the challenges we face are always changing. What is unchanging is our responsibility to develop a service which meets the needs of the community and realizes all the potential in the collections we develop and care for.

 I must preface my remarks by saying that my views on the matter are my own – borne out of nearly 32 years working in the film archives in the public sector and the last 20 of those at a senior level in both a national and regional context. I am not suggesting that I am representing anyone else’s views.

 I am limiting my remarks to the film archives in the public sector and the challenges faced there because this is the sector I know. It is not in any way to ignore the important work done for the survival of our moving image culture by other organizations. In fact, I think it is really important that we begin to develop appropriate and closer working relationships across the whole sector as soon as we can.

 I’ve called this piece Screen Heritage and the Big Society not because I want to discourse on how we can develop community action in support of our sector – though I may touch on this – but more as a shorthand for the wider current context of our services.

 And what is that context? What is the current challenge?

 The public film archive services are currently delivered by 2 UK wide archives (BFI National Archive and IWM); there are services for Scotland and Wales delivered from departments of their respective National Libraries; and there are 9 small archive services operating in the English regions.

 All of these archives are independent of each other – the relationships between them and the way the funding works are complex and have been made more complicated in the past few years – partly by devolution of responsibility to the nations, partly by a lack of a clear strategic and shared overall vision for the services in England.

 “The current political context is one of decreasing public funds and of being told to do more with less.”

 The drive from the current government to reduce the perceived unnecessary bureaucracies has impacted as much in the film world as elsewhere.

 The UK Film Council (UKFC) is being closed with all public support for film activity transferring the BFI. The regional screen agencies (independent, though closely tied to UKFC) are working out how they will become (or engage with) a new body to support screen related creative and cultural industry activity outside the capital. That body is called Creative England. The proposal is that it should have three hubs North, Central and South.

 Creative England is now working with the BFI on defining their relationship so that strategic priorities and delivery paths for the range of areas in which they have some responsibility can be achieved.

 These discussions are ongoing and will be resolved during the coming year (2011).

 Creative England is currently consulting on an interim strategy document which covers the financial year 2011/12. Driven by even further reducing funds, it is clear from the consultation documents that there are expectations of a structural change of the regional film archives in England.

 The nature of the change is currently defined only in the sentence ‘there is an immediate need to develop a more cost effective/aggregated out of London network of RFAs…’.

 There is an old story about a man who, travelling in Ireland, stopped and asked a farmer for directions to Dublin. “If I was going to Dublin”, the farmer replied “I would not be starting from here”. The circumstances we find ourselves in seem to me to resonate with that. The starting point for our journey is one that we might not have chosen.

 But matters are further complicated by not having great clarity at this stage about the destination. Indeed, some of the sector like the place we are in and want to stay. But we have been and are being told that we must travel and some of the sector feel the need to travel and that a journey would be beneficial in many ways, but the problem we face is that the necessity to travel is not, at the moment, being combined with a clear destination. At best we have a sense that – to stretch the metaphor towards breaking point – we know that we should probably head towards Dublin because Dublin is where we probably ought to be. We hope to be engaged in a conversation in which we agree that Dublin is our destination. But our worst fears are that that conversation may take place without us and we might end up being sent to Cork.! (a place I am very fond of by the way but which must for the purposes of the metaphor represent an inappropriate destination).

 The public film archive sector in the English regions is currently perceived, rightly or wrongly, as being fragmentary and as needlessly and inefficiently duplicating resources, activities and facilities. Because it is seen this way there is a sense that the aggregation of the sector will reduce costs.

 This is our starting point. And in the current climate where strategic bodies which have served the English regions are being reduced typically from nine to three, where regionalism is out and where the public purse is too stretched to cover the kind of more peripheral public service activity that we represent, we are not, in my view, in a good place to make the case for the retention of the status quo.

 “So change is the order of the day.”

 Is there anything else we can glean from the Creative England document?

 I am greatly comforted by a recognition that, at least in this transition year, CE have made the whole area of broader film culture (which includes the heritage sector) one of their three priorities. I am equally comforted by the their desire not to undo or damage the benefit we have managed to accrue from the very welcome investment of capital into the sector which led to the Screen Heritage UK programme which is currently in train.

 I know that not all my colleagues concur, but I for one think that there is a strong case for the aggregation of elements of our work. I have been advocating this approach for some time…not because I think it will save money, but because I think it may be possible to improve the services we offer by taking a different approach.

 And in all of our consideration of these challenges the service…what we do and how well we achieve it must lie at the heart.

 So what is our role?

 I have moved away from defining the archive in terms of “collection”. I see the role of the regional film archive as being about engaging people with screen heritage to achieve positive benefit.

 Now clearly a key part of that is the core work of uncovering the region’s screen heritage, ensuring that it is secure now and for future generations and available now and for future generations. And there are particular and specialist archive facilities, functions and expertises that need to be made available to do that work.

 Some of these things have to be located in the region in order for the organization to work effectively in delivering a regional service, some of them – the more backroom functions – can be shared and provided more remotely.

Steenbeck and view of Store

Our responsibility is to make sure that things are done to the right and proper standard to achieve the outcome…not necessarily to do all of them ourselves.

 “But each part of the country has its own identity and has its own priorities and imperatives. Each part of the country presents different opportunities for engagement – and if we are to work effectively at a local level in engaging people with the very remarkable resources we are developing, then we have to be alive to the variety of the opportunities and potential partnerships – and that means working on the ground locally and having the right capacity to facilitate that.”

One of the collections of film found in the Midlands during the HLF funded Full Circle Project

 And working out how best to develop individual and shared responsibilities for the film archive sector must be an inclusive conversation. A conversation in which all the partners, national and regional, come to the table and, recognizing the value and the complementary nature of their different services, their different approaches and the different kinds of contexts in which they work, sort out a genuinely strategic network of service.

 The film archives do not exist in a vacuum. They are part of the wider cultural offer – they are part of the broad cultural landscape and have the potential to impact across a very wide range of cultural partnerships. We need to build on existing relationships nationally and regionally and locally and take care not to damage it in the changes which lie ahead.

 And if all of the changes that lie ahead of us are driven by the need to reduce the amount which we see from the public purse, then developing a new business model and one which is sustainable is probably our biggest challenge.

 To create a new model to deliver a sensible and engaged service to over 40 million people outside London with a Treasury settlement of less than the £290,000 which is, this year, shared between the 9 English regional Film Archives is very challenging indeed.

 It would be quite wrong of me to suggest that £290,000 is all the support we have because for all of us this is only part of a much larger basket of Lottery and other project funding and institutional and in kind support which we have very successfully each developed over the years around this central plank. But it is the central plank and is of considerable importance.

 That the sector has managed to deliver as much as it has with such a small core platform gives me some encouragement for the road ahead. Clearly there are entrepreneurial people working in the sector. But we need to be open to ideas which challenge the received wisdom about how we develop income to cover our costs.

 Sacrilegious maybe, but we must examine again what our ‘public service’ remit means in the current climate.

I believe, and have done for some time, that we must make a contribution, and a more considerable one, to covering our overheads.

We are “not for profit” organizations but that does not mean that we are “not for income”.

The more we can generate, the more we can deliver. We must invest time and energy into the development of innovative ways and means of getting our resources into use and to generating income from that use.

 We must argue for the retention of a core funding platform – without that we can do nothing. We must continue to make the case for that core platform to be set at a level which is realistic – but we must expect to deliver a responsible level of financial return ourselves – just as we must continue to raise funds from Lottery and other project sources and through partnership working. We must at the same time take care to make sure that our development plans and our core activity is not unduly skewed by chasing funds with inappropriate priorities.

 And yes, we must engage community help – we must respond to the so called Big Society.

 It’s not that all of these things mean we must suddenly start to do things which are different. We must simply adapt to the times and the circumstances – as we always have.

 The sector faces some hard decisions and there are many things that will discomfort us in the months ahead.

 But actually at heart I’m optimistic. I think that, challenging as the coming period is likely to be, there is also opportunity – and I, for one, though not without some anxiety, am looking forward to it and believe that, with an appropriate attitude and a spirit of collaboration, the coming changes could just develop into something very good.

 James Patterson

Director, MACE, March 2011

Belbroughton History Society visit MACE archive to see the Full Circle Project’s cinefilm digitisation process.


 

Sarah and John from Belbroughton History Society visit the MACE archive

Merry Christmas Midlands from MACE’s Full Circle Project!

Over the past 6 months we have collected nearly 50 collections as part of the Full Circle Project’s search for Midlands home-movies! It has been a truly phenomenal response to an appeal for members of the midlands communities to search through their attics and dig out any old cinefilm or home -movies they may have stashed away.

As part of the project we are working alongside around 60 community groups from across the Midlands to search for these hidden gems. On Tuesday we had the pleasure of a visit from Sarah and John, members of Belbroughton History Society http://www.belbroughton.com/History.htm. They had expressed an interest in seeing what happens once the cine-film that has been found during their Full Circle Film search comes to the archive. It was a great day and we were able to explain the different procedures that the films must go through before they are copied and transferred into a digital format which the depositors and groups and members of the public can then enjoy watching for years to come.

When film initially comes to MACE it  has to be assessed – the film collection and it’s containers will be inspected for titles or any other give away information to see if  there is anything of particular social/historical relevance or value to the Midlands region.

Cinefilm collection

An accession number is then allocated  to each item in the collection –  e.g. 001/2010/020  – and this is then logged onto the MACE Accession log  along with the date the film came in, the date it was accessioned, the depositors name & address, quantity, gauge and whether a personal file has been set up and a deposit agreement signed.

We then create a receipt listing of all the film titles in the collection, including any related materials that people wish to deposit – such as projectors, viewers or splicers. This receipt is then printed and sent out to the depositor/donator who owns the collection and also to the participating Full Circle Group to keep for their own records.

The receipt is also placed in their depositor/donator/owner’s personal file which is held at MACE alongside a copy of their signed donation agreement and any other information about the titles in the collection.

Any films that are in the collection that are deemed appropriate and  need to be copied will then be prepared for copying: new white spacer is placed at the beginning and end of the reel and any torn perforations are repaired.  So for example, if there are a number of smaller 50ft reels in the collection these will be transferred onto one large 400ft reel to enable the transfer process to be faster and more efficient.

Once the films are prepared a new entry is created in the MACE catalogue for each title in the collection, so that they will appear searchable on the MACE website: www.macearchive.org, at this stage there is no video clip attached to the catalogue entry.

The film collection then has to be put onto a priority copying list which MACE’s Full Circle Technician Andrew Jenkins then works his way through. Using the Flash Scan and Flash Transfer equipment purchased with Heritage Lottery Fund grant, awarded to the project which will run until March 2013,  we are able to convert  a number of film gauges: Standard 8mm, Super 8mm, 9.5mm, and 16mm cinefilm. We also have the equipment to transfer other moving image formats such as: Beta SP, 1 inch tape, D2, Mini-DV & DV-cam.

MACE's Full Circle Technician Andrew Jenkins

The transfer process can take some time, as films are copied in real time and any adjustments to colour, saturation, white balance and exposure also have to be considered during this time. Once the original material has been transferred into a digital format, an archival copy LTO tape is made and also a viewing copy.

Andrew then trims the footage to make sure that the clips appear as they should do once they are on burnt to a DVD. The owner (depositor/donator) and the Full Circle Participating Group can then choose to have a DVD of the material which will be playable on the majority of DVD players or they can have an editable version – should they wish to compile their own screenings of the material found for public viewing.  Our cataloguer Catherine then looks through the material and keywords it as thoroughly as possibly to make sure that each title is accessible by members of the public. Eventually all material found during the Full Circle Project will be viewable online – on the www.macearchive.org website. Please visit our website if you require any more information about how to care for your cinefilm, or contact us here at MACE on 0116 252 5066 and we will be happy to help.

Full Circle Project - A public screening of archive material from the MACE archive.

If you know of anyone who has a film collection that deserves preserving, please get in touch with Full Circle Curator: Lucie Kerley on 0116 252 5931 or email lk99@le.ac.uk.  If you are a local history or community group wishing to take part in the Full Circle Project and are interested in searching for old cinefilm in your area – please get in touch.

Photographs courtesy of Lucie Kerley.

Phyllis Girling’s 1955 Story of The Nativity found in Full Circle Film Search, Tipton.


With only 49 days (and counting…) to Christmas, I thought it was about time I shared this story to get you in a festive mood…

I first met Roy Langford in September  at Tipton Library where The Tipton Harriers were putting on a display of old sporting memorabilia in celebration of their 100th birthday, it was whilst watching back some old cinefilm, and talking about some more that had been digitised in the Full Circle Project, that Roy first mentioned the other cinefilms he had at home .

We met again on the 10th October at the Tipton Harriers Centenary Event which took place at Tipton Sports Academy, where the Full Circle Project were able to digitise a selection of footage from Mick Orton & Tony Phillips Collections to show at the event. During the reunion event in The Snug, Roy came over to me and mentioned some cinefilm that he was interested in depositing with The Full Circle Project.

One piece of film was a 50ft reel of the 1967 Tipton Harriers Boxing Day Handicap race and the other reels dated back to 1955. These other films had been passed onto him by a lady called Phyllis Girling, and were titled  “P. Girling – Story of the Nativity film” and “P. Girling – National Federation of Parent Teachers Association – part 1. and part. 2”  

Miss Girling was Headteacher of Park Primary School, on Nelson Road, Dudley which is now the site of Jessons Church of England Primary School.

In a touching article in the St. Barnabas Parish News, Russell’s Hall, Dudley in March 1988, The Vicar wrote of Phyllis  ” With the death last December, we all lost a remarkable lady and a good friend.” He goes on to say how her devotion the her work as a teacher, will be remembered along with her outward looking attitude that she should use her birthday as an opportunity to raise a large sum of money for charity.”

The Vicar also mentions the “remarkable film of the Nativity which she showed us, made to a very high standard when she was a headmistress.” and said that “she never lost her enjoyment of childrens company and working with them.”

The Story of the Nativity which was partly filmed in the grounds of Dudley Castle and included the loaning of a camel and a couple of donkeys from Dudley Zoo, is a credit to her work as a teacher and one that we hope to share with Jessons C of E School, as a way of looking how the Nativity play differed back then.

Miss Girling wrote: “In October we decided to make a colour film suitable for showing during our Christmas Festivities. Dare we attempt the Story of the Nativity? Costumes would be easy to put together, but the setting should be in Palestine and we must produce our film in Dudley, a town in the Industrial Midlands.”

As a way of getting this film back into the community, I contacted Lucy Griffiths, Headteacher of Jessons Church of England Primary School to let her know about our discovery and she responded saying: “How interesting to hear from you. A film from 1955 sounds fascinating. Funnily enough, we are quite interested in film ourselves. We recently had a film project where every class made a short film, and we held a private premier at the local cinema. It was great! But back to your film – I’d be very interested in having a look and I’m sure the children will be too. After all, we still do nativity plays every year here – though we’ve never borrowed animals from the zoo.”

Phyllis Girling wrote: “A big worry might have been to find a camel, but we hoped that Mr. Risden, the Manager of Dudley Zoo, might be able to help us, and we were not disappointed. He gave us permission to use George, a haughty looking camel, and Jacob, a donkey living at the zoo at the time, if we filmed within the zoo grounds. The zoo of course lies within the grounds of Dudley Castle and we found one wing of the ruins ideally suited for the home of Mary and Joseph.”

My colleague, Richard Shenton – Head of Access and Learning at MACE says: “We are constantly looking to further the use of material in our collection in all areas of education.” So, it really will be lovely to see the reactions of both the pupils and teachers to a film that was made over 55 years ago!

Miss Girling was described as a “first-class Headteacher” whose “leadership created the excellent school that it was!”

Then school-girl, Laura, who was chosen to play Mary in the Story of the Nativity, described the making of the film as “ground-breaking”. In a letter to The Bugle Newspaper she said that “I can vividly remember thinking it was great fun to be on location filming and can recall many amusing incidents.”

A request was made in early 2001 as to the whereabouts of a movie film made by Park Primary School. “The caught the eye of Bugle reader Mr. Roy Langford of Tividale, and he was delighted to furnish us with a story that cheers the heart at this magical time of year. Miss Girling had been a next-door neighbour and great friend of Roy’s for 15 years, enjoying her retirement in Tividale.”

Roy hunted out the film that had been given to him by Phyllis and also discovered a manuscipt which told the making of the “Nativity Story”, and the various locations that were used in its production.

“Miss Girling had given me these papers in a box just before she died, almost as if she wanted the story told. Also in the box I found some painted Christmas cards, including one which showed a woman sat on a donkey, heading towards a girl holding a carrot and sandwiched in-between a kneeling figure holding a cine-camera. “Memories 1955″ was the wording used, so I knew at once that the film had been shot in 1955. The handpainted Christmas cards had been doen by fellow teacher Olwen Pearson.”

As part of the Heritage Lottery Funded Full Circle project – we are able to copy the films into a digital format and preserve the orginals in the MACE archive, to ensure their future enjoyment for generations to come. The copies that will be made, will be in an accessible format, such as DVD that can be watched by people in the community and can be watched on the MACE archive’s online catalogue. http://www.macearchive.org/Archive/Title/girling-story-of-the-nativity/MediaEntry/40711.html

The ever-positive Miss Girling finishes her film-making manuscript by saying: “We are aware of the film’s many imperfections, but we realise many of these are overlooked because interest becomes centred on the convincing way in which children unfold a story they know and love so well.”

If you want to hear more about the Full Circle Project and our hunt for Midland’s Homemovies please get in touch with us here at MACE.

Lucie Kerley – Full Circle Curator. Tel: 01522 837756 or Mob: 07919 896 505, email lkerley@lincoln.ac.uk

 

 

Kiwi Newspaper honours Centenary Celebrators Tipton Harrier’s Jack Holden with ‘hard man’ article.


"Jack Holden... Hard Man" - extract from The Gisborne Herald, NZ

A few weeks ago I was present at a Tipton Harriers event at Tipton Library and took some photographs of the people who attended and also of the sporting memorabilia on display in the library’s museum heritage section. Following this blog post, a chap called John Gillies from New Zealand who works for the newspaper The Gisborne Herald, contacted the MACE archive.

 John explained that his father, Iain Gillies, the paper’s former editor and now a part-time sports writer, wanted to use one of the photographs I had taken at the event for a weekly feature called Legends in their Lifetime.

Tipton Harrier Jack Holden. Photo taken by Lucie Kerley (c) of an illustration taken from a sports magazine c.1950

John went on to explain that “normally it focuses on a local sporting identity but this week – to coincide with the Commonwealth Games – it recalls his memories of the 1950 Empire Games in Auckland and, in particular, the performance of Jack Holden in winning the marathon, despite his having to run the latter part of the race barefoot and avoid a chasing Great Dane. While searching Google for pictures to go with the story, we found your site, and images of the Tipton Harriers display of sporting memorabilia at Tipton Library.” 

As you may already be aware, The Tipton Harriers are holding a Centenary Celebration event this coming Sunday, 10th October at the Tipton Harriers Academy.

As hopefully you’re all aware this is the Club’s Centenary year and on Sunday 10th October there will be celebrations at the Tipton Sports Academy.

“From 1pm to 5pm there will be a BBQ, Bouncy Castle, Face Painting, Tombola, Cake Stall and much more. This is open to everyone, members of the Harriers or not.

Update:Please be there in plenty of time to get the relays sorted.
At 3.30 there will be the 100mile relay on the track. This will be split into 10 teams doing 10x1mile each. Be great to have everyone involved in this, no matter how fast, slow, young or old it’s just about having some fun. Please talk to your team managers and get involved. We realise there is a West Mid YA XC League that day, but hopefully a mile (or even part of a mile!) will still be possible.

There’ll be displays of the history of the club including old film footage and at 5pm there’ll be an old members re-union in the Snug.

From 7.30pm onwards there’ll be a buffet followed by a disco in the Function Room. This will be free but please get tickets off Marg Cherrington or Carol Smith so the right number can be catered for.

Be great to see you all there. “

 The event will be an opportunitiy for Tipton Harriers both past and present to be reunited and reminisce.

As part of their search for old sporting memorabilia connected to the Tipton Harriers, they are calling out for people who may have filmed any events in Tipton or the surrounding area – or have footage relating to Tipton Harriers, to come forward with their old film collections and have the opportunity to have the films copied into an accessible format and preserved in the MACE archive, free of charge. 

Tipton Harriers Club Member Tony Phillips - a selection of whose cinefilm will be screened at Tipton Harriers Centenary event on Sunday 10th October 2010

Tony Phillips has been a Club member (of Tipton Harriers) for over 50 years and through that time has held many coaching and official positions within the Club. As a young man he competed to a high standard over all racing surfaces – road, track & cross country. He has also coached all abilities from club to international level. He has served on many bodies that have governed the sport through the years. 2010 sees this recognised with the Presidency of the English Cross Country Association. An avid follower of athletics he has brought us a significant benefit with his collection of cine material that we are now able to enjoy as a fitting archive to athletic life and competition in the 1960’s & 70’s. He lives in Wolverhampton with his wife Margaret.

Tipton Harriers will be a screening a selection archive film in conjunction with the Heritage Lottery Funded Full Circle project which has enabled the Harriers to digitise a film collection belonging to Tony Phillips,  and also gain access to some old ATV news footage of ‘Long Distance Runner’ – Ron Bentley which will be on display on Sunday. It will be an opportunity for members to look back at events that have made the Tipton Harriers the club they are today!

Tipton Harriers Ground

For more information on this event visit http://www.tiptonharriers.co.uk/site/

 or if you have any film or sporting memorabilia, please contact Tipton Harriers: Chris Holloway 01225 309 124 / tipton.harrier@yahoo.co.uk or Keith Atkins – 01902 674335  / katkins101@sky.com

Interested in The Black Country? MACE has just released it’s first DVD.

 

The half an hour long documentary (which includes another hour’s worth of bonus material) was made by ATV Today in 1969 and explores the changing industry and landscape of the region through the eyes of its people.

See here for more details: https://macearchive.wordpress.com/2010/09/08/1-discount-off-maces-first-dvd-release-if-ordered-by-31st-october/

Belbroughton History Society promote Full Circle film search at Scarecrow Weekend.


Belbroughton Scarecrow Syn-crow-nized Swimming Team

 

Children check out the Wayne Mooney Scarecrow

On Saturday 25th and Sunday 26th September, Belbroughton celebrated it’s much loved, annual event – The Scarecrow weekend! Each year the residents of Belbroughton take part in creating a unique, and often humourous Scarecrow.

The festivities draw crowds of people from all over the UK to the quaint, little countryside village. On entering the village you are greeted by a smattering of straw faces dotted in the most inconspiciously, inventive of places.

Visitors flock from all over to Belbroughton Scarecrow Weekend

The visiting Scarecrows are often given a name and offer some fantastic photo opportunities as you take a tour of the village.

This slideshow requires JavaScript.

There are lots of things to see and do as the Scarecrow Weekend takes over the whole village.

Holy Trinity Church

This year saw the arrival of a delicious Farmers Market – selling everything from Hog Roast to Jersey Vanilla Icecream with cindertoffee pieces and cupcakes

Delicious Cupcakes!

 

a  Craft Fayre – where local craftmakers could sell their creations,

Craft Fayre

Artist - Graham Wilson

Knitter - Joyce Chetland

Craft Worker - Pat Davies

Wood cutter

a Fun Fayre for children of all ages,

and local Charity fundraising events such as an Open Day with tombola raffle at the Belbroughton Animal Sanctuary.

Visitors at Belbroughton Animal Sanctuary Open Day on Scarecrow Weekend

In the Holy Trinity Church, there were opportunities to try out  Bell ringing and watch wool spinners and other local artisans practice their skills.

Bell-ringing at Holy Trinity Church

Artists from around the area displayed their paintings in various locations throughout the village.

Landscape Artist - Ken Wood

Artist – John Instance

Belbroughton History Society had a stand in the church where members, Sarah & James Bradley,  held an exhibition of their groups large photographic collection. 

Sarah & James Bradley, members of Belbroughton History Society

 It was also an opportunity to  showcase  their recent publications on Belbroughton.

Members of the public Full Circle Screening of Archive film

In order to promote the Belbroughton History Society’s Full Circle film search, also on display was a selection of archive film and information about how members of the community could deposit any of their own homemovies or film that related to the local area.

John Instance tells Full Circle's Belbroughton History Society about his film collection

Artist, John Instance, spoke to Full Circle’s Belbroughton History Society about his 8mm film collection which dates back around 45 years and contains footage of a mounted Police march through Cannon Hill Park. John, was born in Selly Park, Birmingham and worked in the Jewellery Quarter, and then in electronics. He set up business in Bewdley in 1982, an Art gallery called The Old Bank Craft Studio which remained there for 23 years until some unfortunate flooding caused it to close down. John continues to work as an Artist and paints from his home studio, holding exhibitions of his work.

John Harvey, a visitor to Belbroughton’s Scarecrow Weekend, spoke of his own cinefilm collection which contains footage of Bearwood and Warley Woods from around 1986. It was a successful weekend, with a number of people coming forward to discuss personal collections that held footage relating the Belbroughton and the larger West Midlands area.

If you have any film or homemovies relating to Belbroughton or the surrounding area please contact Sarah Bradley, Chair of The Belbroughton History Society by email: belbhistory@btinternet.com 

Belbroughton History Society are the participating Full Circle group for that area. They will be acting as a collection point for footage found in the community.

For more information about The Full Circle Project or on how you can deposit footage relating to the wider Midlands area or to find out details of your nearest participating group, please contact: Full Circle Curator: Lucie Kerley by email: lk99@le.ac.uk or call 0116 252 5931

Photographs courtesy of Lucie Kerley

Attention!! JCB employee digs up amateur film collection.


 

Les Humphries helps Full Circle's quest to preserve the Midlands Screen Heritage.

Another great addition to fuel Full Circle’s film search.

Les Humphries worked at JCB (see the JCB toy in the photograph) and was a keen amateur film maker.
He filmed many local events including the Uttoxeter Carnival and the Rocester Carnival  and football match, dating back to 1977. He also filmed
family outings to London, Torquay, Torquay railway station, Torquay beach and  Denbury Camp.
Whilst in the army, Les was based at Denbury Camp, near Newton Abbot  which was built on a former aerodrome. Building commenced in May 1939 and was  completed on the 15th August 1939. The first soldiers to be based there were members of  the Argyll and Sutherland Highlanders and they marched into the newly christened  Rawlinson Barracks and 19 days later war was declared.

For more information on the Full Circle project  or to find your nearest participating group please contact:

Curator: Lucie Kerley 

 email  lk99@le.ac.uk

call 0116 252 5931 / 07919 896505

Dudley Archive’s get involved in Full Circle Community film search


Dudley Archives & Local History Service

Dudley Archives & Local History Service are excited to become one of the 60 partner organisations in the Midlands that will take place in the Heritage Lottery Funded Full Circle project. 

“Dudley Archives and Local History Service holds over 1 mile of original archive material, including business ledgers, maps and school records; more than 80,000 books and pamphlets and around 18,000 images, relating to Dudley borough.”

 The Archive is now on a hunt for previously unseen films hidden away in the Dudley communities.  Archivist – Gillian Roberts  expressed her delight in participating in the project which she feels will be a great way of getting members of the Dudley Communities connected with their screen heritage. 

The Archives are often involved in many local projects – and are interested in preserving the heritage of their community through both Oral and Visual Historical Records. The areas covered by Dudley Archives include Stourbridge, Halesowen, Brierley Hill, Dudley and Sedgeley. All have very distinctive histories and would be a great place to start searching for old film.

The Archives will act as a point of contact for members of the community wishing to get involved in Full Circle and also as a collection point for people wishing to deposit film.

Contact Details

Dudley Archives and Local History Service
Mount Pleasant Street
Coseley
West Midlands
WV14 9JR
 
Tel: 01384 812770

Another Hidden Gem -The Alison Cinavas Film Collection.


Alison Cinavas with her Father's film collection

The Full Circle project has been given yet another gem of a film collection. This time by Alison Cinavas, whose father filmed family holidays and  other events from the 1960s onwards.

Some of these hidden gems include footage of  the 1960 FA Cup Final – Wolves v. Aston Villa. (Billy Wright who played for Wolves was a minor media personality, and his marriage to Joy Beverley of the Beverley Sisters  was one of the most successful showbiz marriages of its time).

Other highlights include early footage of YHA, Drayton Manor, Belbroughton and camping nr Aberdovey.

This collection on 8mm film is being processed and clips will be available to view on the MACE website in the forthcoming months.

This deposit is part of the Full Circle project.

Please visit our website for more details. http://www.macearchive.org
Kay Ogilvie Senior Curator, Full Circle Telephone: 01629 823495 or Email: kay.ogilvie@tiscali.co.uk

Pat Keeling Leicester Model Agency’s Film Collection arriving in January!


 

The Pat Keeling Leicester Model Agency Collection

Pat Keeling started her modeling career in 1969 when the hosiery industry in Leicester was buoyant and tights had just come into fashion with the launch of the mini skirt.

 Pat says. “At the time Leicester was at its peak in the  hosiery industry and because I had a good pair of legs I ended up on the cover of packs of tights and stockings – Pretty Polly, Elle and Christian Dior”.

Things really took off in 1972 when she became the BBC’s Golden Girl and this opened the door for many radio, TV and personal appearances. Her modeling assignments took her as far afield as Iran and in 1973 she came third in the Miss UK contest. Other titles followed, including Miss Leicester City FC in 1974.


Realising that a model’s life was limited, Pat started her own modeling agency in Leicester in 1977. While still taking on modeling assignments, she now focused on the agency. The agency’s reputation for professionalism and excellence grew.

Highlights of Pat’s collection include Fantastic fashion shows  which were produced for the Leicester Mercury at De Montfort Hall throughout the 80’s and 90’s featuring local Leicester people. The agency choreographed and produced  shows for Next plc, George, Adams Kids, John Lewis, BHS, Mothercare, Tesco, Matalan and The Clothes Show Live, to name but a few. .

Photographic work for models of all ages from babies to pensioners and promotions throughout the UK were and still are everyday business.

MACE are looking forward to receiving this collection in January.

Pat Keeling Model Agency – 38 Northgate Street, Leicester, LE3 5BY. Tel: 0116 262 2540 Fax: 0116 253 7712

http://www.patkeelingagency.co.uk/