BFM

There is a buzz in the air; Black Brit filmmaking is coming alive, particularly on the Shorts scene. It's seems that everywhere I turn there are writers, directors, producers, film/media students buzzing with ideas and production plans.

Since the start of the decade over 60 short films have been produced. In recent years we have seen a rapid upsurge in the production line. All of a sudden from nowhere an underground movement is here. We are seeing a range of films from thrillers to comedy produced by filmmakers across a varying age range. Unlike the Workshop movement of the 80's, the Black Brit Pic (BBP) movement has an increasing audience base which bodes well for it's survival.

The problem these BBP's face is the lack of proper screening venues. Most of the productions end up on video simply because it's the only option filmmakers can afford, even if the project was shot on film. Unfortunately in the UK there are few cinema venues that have video projection facilities. As a result many of the screenings take place in venues which are less than ideal. Yet still audiences are coming. Why? Because they are hungry for something different! In contrast the British Film Institute organised a bodly titled New Futures For Black British Conference, in October, an expensive two day event, with little but frustration on offer. No one was able to explain or articulate what New Futures meant? This was yet another BFI conference on our behalf, with no focus and direction. We were treated to a lecture from cultural critics Paul Gilroy, clearly out of touch with the sector. The new Director of the BFI John Woodward informed us that things are going to be different, where have we heard that before? Producers Nik (Crying Game) Powell, Peter Ansorge (BBC) Simon Perry (British Screen), all had nothing new or of significance to say. Where were the real players in the film industry, the reps of the three film consortiums that got 92m in subsidy? Sales Agents? The heads of the feature film departments at Channel Four, BBC, Carlton, people who make decisions about what projects get made? Where was Janet Anderson, the Minister for film?

Most glaring was the absence of one of the fathers of Black Brit cinema, Horace Ove. Why was he not present to share his experiences and to talk about his work? And why is he continually marginalised by institutions like the BFI? Though they screened one of his films and made sure to use stills from Pressure to promote the event. In this issue we have a special interview with Horace, which reveals some of his experiences that has paved the way for the BBP scene. The conference was irrelevent to what's happening within the sector and underlines why it's time BFI stop the talk and get on with the action. This last jamboree could have financed a couple of Shorts.

The BFI should look at practical support it can give in the way of P/A and distribution for starters, perhaps then it might become more relevant to Black filmmakers.

Editor




Editorial			There is a buzz in the air; Black Brit filmmaking is coming alive, particularly on the Shorts scene. It's seems that everywhere I turn there are writers, directors, producers, film/media students buzzing with ideas and production plans. Since the start of the decade over 60 short films have been produced. In recent years we have seen a rapid upsurge in the production line. All of a sudden from nowhere an underground movement is here. We are seeing a range of films from thrillers to comedy produced by filmmakers across a varying age range. Unlike the Workshop movement of the 80's, the Black Brit Pic (BBP) movement has an increasing audience base which bodes well for it's survival. The problem these BBP's face is the lack of proper screening venues. Most of the productions end up on video simply because it's the only option filmmakers can afford, even if the project was shot on film. Unfortunately in the UK there are few cinema venues that have video projection facilities. As a result many of the screenings take place in venues which are less than ideal. Yet still audiences are coming. Why? Because they are hungry for something different! In contrast the British Film Institute organised a bodly titled New Futures For Black British Conference, in October, an expensive two day event, with little but frustration on offer. No one was able to explain or articulate what New Futures meant? This was yet another BFI conference on our behalf, with no focus and direction. We were treated to a lecture from cultural critics Paul Gilroy, clearly out of touch with the sector. The new Director of the BFI John Woodward informed us that things are going to be different, where have we heard that before? Producers Nik (Crying Game) Powell, Peter Ansorge (BBC) Simon Perry (British Screen), all had nothing new or of significance to say. Where were the real players in the film industry, the reps of the three film consortiums that got 92m in subsidy? Sales Agents? The heads of the feature film departments at Channel Four, BBC, Carlton, people who make decisions about what projects get made? Where was Janet Anderson, the Minister for film? Most glaring was the absence of one of the fathers of Black Brit cinema, Horace Ove. Why was he not present to share his experiences and to talk about his work? And why is he continually marginalised by institutions like the BFI? Though they screened one of his films and made sure to use stills from Pressure to promote the event. In this issue we have a special interview with Horace, which reveals some of his experiences that has paved the way for the BBP scene. The conference was irrelevent to what's happening within the sector and underlines why it's time BFI stop the talk and get on with the action. This last jamboree could have financed a couple of Shorts. The BFI should look at practical support it can give in the way of P/A and distribution for starters, perhaps then it might become more relevant to Black filmmakers. Editor
Editorial Finance: bfm looks at alternative source of finance for indie filmmakers bfm highlights a worring trend in UK film cycles Report from Edinburgh Financing a short film Distribution Interview with Horace Ove: The Godfather of Black Brit Cinema (c)Black Filmmaker Publications 1998: All right reserved