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Thus each chapter addresses a different aspect of cinema going memories. The intention of this project was to extend knowledge of cinema history with an emphasis on how films were received and the social experience of cinema going. The six chapters clearly set out different aspects of the 1960s cinema going experience- social experiences, sex and cinema going, the experience of watching American films and British films, European films, and postcolonial audiences. [Extracted from the article]

The article discusses the highlights of the British Film Institute (BFI) International Conference on Africa and the history of Cinematic Ideas that was held in London, England from September 9 to 10, 1995. According to conference director June Givanni, the event was organized as the centerpiece of the Screen Griots program. It was attended by established filmmakers and film and cultural theorists, including Idrissa Quedraogo and Gaston Kabore. Haile Gerima criticized the lack of study given to African audiences engaging with African cinema.

Education about the media has been developing in the UK for at least 40 years. Various accounts of that history can be found elsewhere; this paper will just attempt to sketch out key features of the current scene, and to point readers to sources of more substantial information. Given that I work for the British Film Institute, a key player in this field, there is bound to be some bias in this account towards the BFI's perspective: my defence is that, as every media educator knows, no account is ever completely unbiased. [ABSTRACT FROM AUTHOR]

Uneven access to television archives across Europe has posed a number of problems for transnational and historical comparison. Developments in online technologies have promised new opportunities for creating access to television content at national and international levels, yet the potential for transnational comparison remains problematic. This report focuses on Video Active, a major European collaboration between broadcasters, archives, technologists and television scholars to create online access to television programming and to promote comparative approaches to television history. The report will illustrate, however, a number of factors that continue to inhibit online access to television content, and it will show how classificatory schemes and metadata can influence the pre-selection, interpretation and comparison of accessible programming. The report will go on to explore how the project has developed practical solutions to some of these issues and will suggest that continued collaboration on a larger scale may yet hold the long-term answers to problems of access and interpretation. [ABSTRACT FROM AUTHOR]

The article provides information on the crisis encountered by the British Film Institute (BFI) in 1970 in London, England. These include the tensions happening within the Board of Governors, between governors and management, between management and staffs. A group of BFI members was asking for change and if possible to change the entire Board of Governors. At the end, the chairman of the board has resigned as well as Paddy Whannel, the charismatic head of BFI's Educational Department. According to a report, the crisis occurred when BFI was recreated under its new Chairman of Governors, Dennis Forman, where it had grown but was not able to keep up with changes in the surrounding culture.

The article offers information on two recent monographs in the possession of the British Film Institute (BFI). These are "Television and History," by Colin McArthur and "Television: Ideology and Exchange," by John Caughie. It underscores that these monographs continue BFI's commitment to a series which promotes to understand the function of television both as an institution and practice. These are written from a historical materialist point of view and are both informed by the Althusserian concept of Ideological State Apparatus (ISA).

An open letter to the staff of the British Film Institute (BFI) in London, England, is presented. The six signatories of this letter, all members of the Education Department, have resigned from the BFI. Their motive were mixed and some of them had personal reasons for wanting to leave but their resignations were precipitated by the continuing crisis at the institute. The signatories claimed that they have lived in a state of permanent uncertainty about their future without support or guidance from the management.

A letter from British Film Institute (BFI) Deputy Education Officer Alan Lovell to the staff of the BFI in London, England, is presented. Lovell notes that his resignation from the Education Department was precipitated by the continuing crisis at the institute. He claims that BFI Governor Helen Forman expressed her prejudices against the department. He criticizes the position of the BFI towards film education.