This month, we invited Alison Smith, Charlotte Little and Andrew Miller to discuss making events accessible for all audiences.
This month, we hosted a roundtable for Scalarama Glasgow to discuss how organisations, independent exhibitors and programmers can ensure their events, both online and IRL, are accessible to disabled audiences. We invited Alison Smith (Pesky People), Charlotte Little (Film journalist for Flip Screen and UK Film Review) and Andrew Miller (UK Government Disability Champion Arts & Culture and Chair of BFI’s Disability Screen Advisory Forum). Our guests spoke about how organisations can sincerely build in accessability for D/deaf and disabled audiences throughout their events and the ways in which the COVID19 pandemic has exacerbated inaccessability.
“You know, that whole fear of missing out? Well, we’re getting it in spades.” Alison Smith, on disabled audiences and online activities.
The sessions highlighted that the pandemic possess a real threat to the progress made in the UK in regards to disablity access to arts and disabled representation. Including serious issues with the UK Cinema Assocations re-opening guidelines, considerations to be taken for audiences who find communcation with mask-wearers difficult and some handy tips on how to bake-in accessible provisons from the planning stages onwards.
You can watch the entire roundtable here (embedded above, with subtitles), read the transcript here or browse the minutes here.
Scalarama Glasgow’s monthly roundtables continue online (for now). Follow Scalarama Glasgow on Facebook, Twitter and Instagram to stay up-to-date.
The next monthly roundtable, focussing the independent exhibitor’s timeline for returning to events, will be on Sunday 9th August, on Zoom. Details via the Facebook page, here.
Scalarama in Scotland is supported by Film Hub Scotland, part of the BFI’s Film Audience Network, and funded by Screen Scotland and Lottery funding from the BFI.
For the second year, we’ve worked with Glasgow Short Film Festival, this time expanding coverage to nine feature-length programmes of shorts, including the entirety of their Scotttish Competition and our own Girl in the Picture: The Youth Films of Nobuhiko Obayashi programme. The latter celebrates the early, experimental work of the House director and includes films subtitled in English for the first time. We’ve worked with translator Moe Shoji to produce SDH for these films, and they represent the start of a bigger project we’re very excited about – watch this space!
Find all the captioned films screening at GSFF20 here.
Why Don’t You Just Die! (Kirill Sokolov, 2020) is the first in our new, monthly screening series Arrow Video Night, in collaboration with Arrow Video. Arrow produces SDH for all their home releases, but we’ll guarantee them either way, since some of the programme will be sneak previews and descriptive subtitles may not be ready in time for our screenings. Why Don’t You Just Die! is a prime slice of Russian splatterpunk comedy, lots of fun and an advance screening ahead of its Blu-ray release in April.
Remakesploitation Fest is our collaboration with Iain Robert Smith (King’s College London/Remakesploitation Film Club) and the result of a long, long infatuation with the weird world of Turkish fantastic cinema – particularly the era which featured countless unauthorised remakes of Hollywood films. Following our sold-out premiere screening of the 2K restoration of Turkish Star Wars (Dünyayı Kurtaran Adam) last year, we’re bringing a whole day of Turkish remakes to CCA Glasgow, all with exclusive, brand-new translations, screening for the first time in the world with English SDH. Thanks to King’s College London and Film Hub Scotland for making this possible!
Very different events, but both a pleasure to work on. One is a showcase of the absurd, political and queer musical films of John Greyson, the other a new restoration of a 1988 documentary on Leith and its changing socio-economic landscape.
Sing and Fight! is an event showcasing the absurd, political and queer musical films of John Greyson. Produced by Edinburgh Artists’ Moving Image Festival, in collaboration with HIV Scotland and Pollyanna queer cabaret, it takes place at Glasgow’s The Deep End. Alongside rarely shown musical short films from the 1980s, the event centres on clips from Zero Patience (John Greyson, 1993). Greyson’s film uses the unlikely form of song and dance to tell the story of the unfairly stigmatised, supposed ‘patient zero’ of the AIDS epidemic in North America.
Leithers (Alistair Scott, 1988) documents the people who lived and worked in Leith during the ’80s and examines the changing socio-economic landscape of Leith at that time. The film screening will be introduced by film-maker Alistair Scott, Associate Professor of Film & TV at Edinburgh Napier University. The screening will also be accompanied by a short compilation of archive footage of Leith from the National Library of Scotland’s Moving Image Archive and will be followed by a short panel discussion about Leith’s past, present and future.
In 2019, we produced three festivals (one of which gained international viral fame), screened 43 feature-length films and 31 short films, hosted 13 guests, 4 drag performers, 2 live bands, co-programmed 14 collaborative screenings, embraced the sliding scale ticketing system, started open-captioning all our screenings, launched a subtitling arm providing HOH subtitles for several festivals and other exhibitors and co-ordinated a month-long season of films across Glasgow and Scotland. Through it all, we had the best audiences and an amazing support network of colleagues, collaborators and peers. Particularly, the support and enthusiasm from our friends at Film Hub Scotland set us up to deliver what is beyond a doubt our busiest programme yet. Here’s our ridiculous year in pictures, month-by-month.
Cage-a-rama 2: Cage Uncaged | We started the year with our second annual Nicolas Cage film festival, opening with Mandy and a Q&A with Cheddar Goblin creators Casper Kelly and Shane Morton. Mom & Dad director Brian Taylor joined us via Skype on Saturday evening and we closed the weekend with the UK premiere of the truly special Between Worlds, a still-unsung and underrated entry in the Cage canon. Despite being described in some quarters as “the new The Room“, it was thoroughly enjoyable and a good time was had by all.
Auld Lang Vine #RIPVine | In mourning of everyone’s favourite six-second video platform, we hosted a fitting funeral, including drag homage by Puke, live music by Joyce Delaney and 500+ Vines curated by Pilot Light TV Festival. This was an event of firsts, including our first use of the sliding scale ticket price and our first ever spontaneous modern-day lighter waving. Part of the #BFIComedy season.
Two Weirds Is Too Weird @GSFF19 | In March, we joined forces with Glasgow Short Film Festival to curate a night of short films made by Alice Lowe & Jacqueline Wright under the Jackal Films banner, featuring feline erotica, courtly necrophilia and bird women. Jacqueline, who’s now based in the US, very kindly recorded us a special introduction for the event. This was also our first collaboration with fantastic photographer Ingrid Mur, who documented our events for the rest of 2019.
Shogun Assassin with Venom Mob Film Club | This was Venom Mob Film Club’s first screening, and the first of our 2019 co-screenings supported by Film Hub Scotland. Johnny and Chuck programmed one of our favourites and served it up with a special menu of vegan ramen. Venom Mob have since done a bunch more screenings themselves, and they’ve all been great.
KeanuCon | Megan: Viral fame unexpectantly struck us this year as the internet caught wind of the world’s first Keanu Reeves film festival (less than a week before the already sold-out festival), yet we remain humble.
Megan: The festival was wyld regardless of the coverage, we had contributions from Alex Winter, Bill & Ted writer Ed Solomon, Man of Tai Chi star Tiger Chen, authors Kitty Curran & Karissa Zageris and My Own Private Idaho aficianado Claire Biddles. The weekened climaxed with a live performance from Wyld Stallyns, a Glasgow supergroup who absolutely nailed it. And, of course, we had lots of Keanu films, 11 in total, including his first appearance on film, in a National Film Board of Canada short. The weekend was full of Keanu love and great energy from the audience, we can’t wait to do it again in 2020!
Under the Cherry Moon with Backseat Bingo | Our next team-up of the year was with the brilliant Backseat Bingo, returning from a long absence. It was only fitting that programmer Casci Ritchie, who is also an academic expert on His Royal Badness, present this lesser known Prince classic on his birthday. Casci introduced the film with an illustrated talk on Prince’s fashion, from erotic sportswear to the classic trench coat.
Cage-a-rama 3D @ EIFF | What could be better than Cage? Cage in 3D! Senior programmer Niall Grieg Fulton invited us to collaborate on this special event at this year’s Edinburgh International Film Festival. After Cage-a-rama 2 (and our 2018 pop-up, The World’s Greatest 3D Film Club at Nice N Sleazy), Cage-a-rama 3D was the logical next step. EIFF’s team sourced beautiful 3D prints and footed the bill for an incredible top-of-the-range 3D system (the glasses need re-charged after every screening). Drive Angry and Ghost Rider: Spirit of Vengeance have never looked better – and we got to commission another incredible illustration from Vero Navarro!
Der Fan with Sad Girl Cinema | As part of BFI’s Film Feels: Obsession season, we co-programmed ’80s thirsty cult slasher Der Fan, along with a topical panel on obsession, thirst and fandom, featuring Bethany Rose Lamont (Sad Girl Cinema), Liz Murphy (artist), Jamie Dunn (The Skinny) and chaired by Claire Biddles (Sad Girl Cinema).
#SubtitledCinema | This was the year we committed to switching on the subtitles for every screening we do. We believe in accessibility and inclusion and though there’s lots of things we can’t do because we don’t have the budget or the time (there’s still just the two of us running Matchox), we realised if we could do it, we should. The other side of the coin is that since we aim to screen films that you can’t see elsewhere and often it’s the first, the first in a very long time, or somehow the only time you’ll be able to see these films, particularly on the big screen, we want to make sure as many people can see them as possible. Underpinning all that is the fact that we’re also professional subtitlers, with over a decade experience in subtitling for D/deaf audiences, so this year we put two and two together and started a subtitling arm to Matchbox. Since we started, alongside our own programming, we’ve produced subtitle files for festivals (GSFF, GFF, Take One Action, Document), film industry events (Film Hub Scotland’s EIFF Industry Days and This Way Up), new films (Super November, Her Century, Women Make Film) and creators (Ctrl Shift Face’s ongoing series of deepfake clips).
Sing-along SAW with Pity Party Film Club | In 2018, we launched the Scalarama Scotland programme with Polyester in Odorama, a scratch ‘n’ sniff event that also featured live drag performers and a very special ring girl in Puke, who, in lieu of on-screen prompts, let everyone know when to rub ‘n’ snort the special Odorama cards. We wanted to top it this year, so we teamed up with our pals Pity Party Film Club to come up with Sing-along SAW – a screening of the classic modern horror, interpolated with live drag acts inspired by key scenes. Highlights included Billy circling the audience on a People Make Glasgow bike and Frans Gender’s out-on-a-limb rendition of Kenny Loggins’ Footloose.
Nothing Lasts Forever on 35mm | Tom Schiller’s Nothing Lasts Forever has been on our list since we started showing films. Never released on VHS, DVD, VOD or streaming, since its scarce first screenings, it’s only been seen via TV broadcast once in a blue moon (not in the UK since Alex Cox introduced it on Moviedrome in 1994). When we realised Park Circus could authorise a 35mm screening, we knew we had to make it happen, and it was the perfect opening film for Weird Weekend. And though it was challenging (the only way to see the theatrical cut, and therefore prepare, is with the 35mm print), we even figured out how to screen it with subtitles.
Weird Weekend | One of our proudest moments this year, our second annual cult film festival was the first festival we’ve done with the sliding scale ticketing scheme, the first fully subtitled and we also had a 50/50 F-rated programme, meaning half the films were directed by women. Besides all of that, Weird Weekend represents our core programming: outcasts, orphans and outliers – the oddball and often lost classics that deserve to be better seen. Programming, producing, promoting and delivering it this year was thrilling and challenging and exhausting and rewarding. Highlights for us were hosting deepfake auteur Ctrl Shift Face (who came to take part in our Weird World of Deepfakes panel, debuted a brand-new clip and provided his back catalogue for a feature-length retrospective); screening Věra Chytilová’s rarely-seen Vlci Bouda; bringing the mighty Vibrations to a Glasgow audience; and, of course, hosting a Skype Q&A with the one and only Joe Dante, who also allowed us to screen the workprint of The ‘Burbs, complete with alternative ending, extended and missing scenes and even more Morricone needle drops. Subtitling/captioning most of the programme from scratch was another proud moment, if exhausting, and we can’t wait to do it all bigger and better again in 2020.
Scalarama 2019 | This year, we took a new approach to coordinating the monthly Scalarama meetings leading up to the full DIY season in September. We wanted to make the meetings more practically useful for people looking to start screening films, as well as for people with a little more experience. Every month from March, we invited two guest speakers to present on different aspects of putting on films, and then make an opportunity for attendees to ask questions and share their own perspectives. When our programme was launched in August, we had our busiest ever programme in Glasgow, as well as more and more activity in Edinburgh, the Highlands and Islands and all across Scotland.
Kaleidoscopic Realms | Megan: This was probably my favourite screening of the year, if I’m allowed to say that? Our programme was a mix of Toshio Matsumoto and Nobuhiro Aihara shorts sourced from the Post War Japan Moving Image Archive and two shorts by Naoto Yamakawa, supplied us to by the director. This was a mini-time capsule of experimental shorts of the ’70s & ’80s, and just the beginning of our experimental Japanese programming, which you’ll see more of in 2020.
Seahorse with Freddy McConnell | Our first co-screening with Queer Classics brought Jeanie Finlay’s then brand-new documentary Seahorse to Glasgow. Seahorse intimately explores Freddy McConnell’s pregnancy journey as a trans man. Freddy even came along to chat with the audience about his experiences, and got confused when asked about his ‘wean’!
Gregg Araki’s Teen Apocalypse Trilogy with Diet Soda Cineclub | For the first time ever, we didn’t attend our own event, a co-screening triple bill of Totally Fucked Up, The Doom Generation and Nowhere. We had been invited to curate a panel on #SubtitledCinema at one of Independent Cinema Office’s regular Screening Days events, so while we prepared well (including producing all-new subtitles for all three films), we had to be at Nottingham’s Broadway Cinema when the event started in Glasgow. We left delivery of the event in the very capable hands of our co-programmer, Sarah Nisbet of Diet Soda Cineclub. Gregg Araki’s specially recorded introduction (filmed during a burger joint reunion with the cast of Kaboom) arrived practically at the last second, but it was worth the wait.
Best of Final Girls Berlin | Ain’t no horror like women-made horror, and Final Girls Berlin have the best of it. We brought the frights, anxiety and terror of FGBFF right to Glasgow with a showcase of the best short horror films from their festival, made by women from around the world. And if you liked this team-up, keep an eye out for their festival programme announcement in January 2020 😉
City of Lost Souls with Sgàire Wood | As part of BFI Musicals season, we brought a bit more of Berlin to Glasgow via ’80s trans punk musical City of Lost Souls. As if this film didn’t have it all already we also comissioned Sgàire Wood to produce a new performance to introduce the screening. We love this film, which challenges expected representation of queer communites, and is just a great odd-ball film all round.
Dial Code: Santa Claus & Secret Santa Party with Backseat Bingo | Our 43rd film of 2019, and our last, is another team up with Backseat Bingo. We wanted to celebrate Christmas with our audiences and our film exhibiton pals so what better than an ’80s action horror featuring a 9-year-old with a mullet and a super creepy Santa? Plus Secret Santa in aid of Refuweegee, and an additional surprise festive screening to finish!
Keep up to date with our 2020 events by signing up to our mailing list, here, or find our events on Facebook here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
Janice Forsyth invited our producer Megan Mitchell to discusses the rise in popularity of subtitled films on BBC Radio Scotland’s Afternoon Show
Megan was invited on BBC Radio Scotland’s The Afternoon Show yesterday (16/12/2019) to discuss subtitling in films, with host Janice Forsyth and writer, academic and programmer Pasquale Iannone. If you’re in Britain, you can listen to the segment (for the next 29 days, at least) on the BBC’s website, here.
BBC doesn’t currently provide transcripts of its radio shows, so we’ve made one ourselves. Read it below, download a PDF here, or listen along with our subtitled clip.
Janice Forsyth: Now, until recently, subtitles and film and television were restricted to foreign language presentations, but now, well, I think a lot of us expect them as an option, thanks to streaming services like Netflix, Apple TV, BBC iPlayer, which offer so many shows fully captioned or subtitles. It’s great for world cinema and allows viewers to broaden their horizons from their living room but, apart from that, should we be captioning and subtitling everything anyway for reasons of inclusivity and have audiences become more adept at watching and reading at the same time? Well, here to help us explore how things are changing are two film buffs. In our Edinburgh studio, Afternoon Show regular and Italian cinema expert Pasquale Iannone. Ciao, Pasquale.
Pasquale Iannone: Ciao, Janice. Come va?
Janice: No bad.
Pasquale: No bad! “I’m awright.”
Janice: Awright, son! And with me in Glasgow is Megan Mitchell, producer with independent film exhibitor Matchbox Cineclub. She’s also co-founder – I love this – of the first film festivals anywhere in the world dedicated to Keanu Reeves… and Nicolas Cage. Megan, welcome.
Megan Mitchell: Thank you for having me on.
Janice: Great to have you here. So, tell us about Matchbox Cineclub. It’s such a brilliant title. What does it do?
Megan: So we are basically, as you said, independent film exhibitors which means, really simply, that we screen films across the UK, even though we’re based predominantly in Glasgow. We screen everything, as you said, from classic Keanu Reeves and some cagey Cage all the way through to experimental Japanese cinema, world cinema and everything in between. We’re really interested in cult films and cult audiences.
Janice: Wow, that’s interesting. Park Circus films did something like that you know, years ago, it was like Park Circus, they were based in Park Circus, they’re based in Glasgow, and became huge as distributors. Have they been a kind of shining example to you of what can be done?
Megan: Yeah, and actually we’re really good pals with Park Circus. They’ve supplied quite a few of our titles, particularly some of the harder to get things. They’re a really good resource for us and any exhibitors across the UK, actually.
Janice: That’s great. All power to you. So, what about this, then, this phenomenon? I think many of us who do watch and maybe binge on box sets on the various streaming services, um… Well, I mean, let’s get out of the way the whole idea of actually sometimes it’s not to do with needing them because it’s a foreign language. For me, and sometimes other people, I mean, going way back to something like The Wire, I was so pleased when I discovered that there was a subtitling… there was access to subtitling so I could really understand the brilliant dialogue. Do you, Megan, see that there’s been a big increase in this, in proper, fully captioned, subtitled films?
Megan: Absolutely and I think that younger generations particularly are now expecting that subtitles are on cinema we’re seeing it across not just streaming platforms, particularly Netflix and MUBI, who are captioning 100% of their content, or subtitling 100% of their content but particularly on social media and, you know, with the use of phones, we’ve got captioned content on video content there because no-one’s, you know, turning off their music or putting on their earphones to listen to something when they’re out and about, so I think with the increase of that, that’s leaking through into cinema and what audiences are expecting and I think, as you rightly said, access is a massive part of that as well, that there’s this crossover with people who, you know, aren’t particularly deaf or, you know, recognising themselves as such but finding subtitles massively helpful in understanding what’s happening on-screen.
Janice: Yeah. Yeah. It is fascinating, isn’t it, Pasquale…
Janice: Because, obviously, you know, with Italian cinema, it’s no problem for you and presumably other languages as well, but it is terrific to have that option, but, for a long time, people, some people, would be a bit squeamish, “Oh, you know, “it’s a pain in the neck to have to read the subtitles as well.” Do you see a sea change now?
Pasquale: Yeah, I think so. I mean, there’s this idea that, you know, all non-English-language films are somehow art cinema, they’re art house films, they’re inaccessible, they’re complex, they’re…they’re cryptic, etc, and we know, obviously, that that’s not the case. I mean, granted, there are some of those titles but I mean there’s a huge variety of films of all different types of genres on all the streaming platforms, really. I mean, I was looking through Netflix, and there’s some incredible films. There’s an Indonesian action movie, The Raid, The Raid 1 & 2, incredible film, and of course it’s all, kind of, in Indonesian and it is not an arthouse film, the way we would think of it. And it’s this whole idea of subtitles versus dubbing, ’cause over here, obviously, we’re not really used to dubbing, as a culture, and it feels weird, I think, whereas some other cultures in Europe dubbing is very much the norm and… But, I think, yeah, I mean, it’s this idea of having the original.
Pasquale: And if it’s… If you have to have subtitles, then fine. I mean, there are actually some directors who say, “No, no, I’ve spent ages composing this image, “I don’t want text on it.”
Pasquale: There are very few of those.
Janice: I think most directors would surely prefer that than dubbing. I mean, I’m old enough to remember when we used to have foreign language export/import, or whatever it is, telly after school, so there would be Robinson Crusoe and Belle and Sebastian and it was it was all the dubbing but it was hilarious, because… Certainly, my brother and I just used to spend our time impersonating the very bad English-accented foreign voices. It was very, very funny. What about, Megan, mainstream cinemas? How many mainstream cinemas are regularly screening captioned or subtitled films?
Megan: I mean, I actually took a look at us this morning before I came in, because usually we’re sitting in the mid-teens for subtitled screenings in multiplexes across Glasgow for a whole week. This week, it’s took a massive upswing because of Star Wars. There are 26 subtitled screenings across Glasgow this week. That’s a choice of six films including one screening of Frozen 2. However, if you do not require subtitles or aren’t looking for something that’s subtitled, you can go to Glasgow’s biggest multiplex today and see 60 screenings across 12 films, so I think there’s a massive, still a massive gap in terms of film screening exhibition access. In Glasgow, we’re seeing a massive increase in terms of independent exhibitors actually taking up the mantle of access and doing 100% or trying to achieve increased captions so earlier this year, Matchbox actually took the choice to dedicate 100% of our programming to captioning so that all of the films we screen, regardless of whether they’re English or foreign language have captions and subtitles so that anyone can come along and enjoy the films.
Janice: Is that an expensive business to do?
Megan: Funnily enough, my colleague at Matchbox, Sean Welsh, he is a professional subtitler, so he subtitles and captions for MUBI and freelance so we can do it in-house but we’ve also seen an increase in funding, so that other organisations can reach out to us or other subtitlers and get that. We’re seeing that, on the production side, in terms of distributors for films, they’re still not supplying or producing subtitles so it means that even if people are wanting to screen their films accessibly, they just can’t.
Janice: Yeah. It’s interesting this, isn’t it, Pasquale? I mean, also ’cause, you know, subtitled films you can totally imagine as an education resource for language students.
Pasquale: Totally, yeah, and it’s an incredibly useful tool, as is music, of course, but, I mean, especially with film and it’s something that, you know, when I was at school, when I were a lad, you know, going back to the mid to late ’90s, I mean, you didn’t have that. I mean, you didn’t have the… You had the old… You still had old VHS and DVD was coming in, but it was nowhere near this amount of accessibility that you have now and so a tool, like this language learning in Netflix, is superb. I mean, it just allows viewers to watch foreign language shows with subtitles both in the original language and the English and you can pause it to really kind of absorb what they’ve just seen. Obviously, there’s some series and TV programmes that are better suited for this kind of thing. I mean, I was thinking… I was thinking of some series that are given some flack for their sound, the way that actors mumble, the way that actors… apparently, the Director General of the BBC said, “Muttering is something we should have a look at.”
Pasquale: Back in 2013!
Janice: I love that. So W1A, isn’t it? Yeah! But there was an audibility project apparently in 2009, involving a 20,000 panel of viewers and listeners so this idea of sound and being able to catch every single thing but sometimes you don’t actually need to catch every single thing. It does really depend on the film, on the TV show. And how much is relayed through dialogue, and how much is relayed through the visual side.
Janice: Yeah. I’ve been thinking a lot about that recently because, Megan, I’ve been, you know, I was lucky enough to go to a BAFTA screening of The Irishman, so I saw it on the big screen. It wasn’t that big a screen, but it was a big screen And I was really glad I was able to do that. However, I have to admit, during it… I mean, I loved it, I really, really enjoyed it, but during it I was thinking, “Oh, I can’t quite catch what he said there,” and I was imagining that moment where I could pause and get the subtitles up. And I was just personifying exactly what Pasquale’s talking about. It was like, “Wait a minute, enjoy this master at work, “look at these visuals, just take in the whole thing, “maybe later…” Fortunately, it’s on Netflix, so I can look at the subtitles, but it’s interesting about how it maybe affects our experience of just sinking into the film.
Megan: Yeah, but I think in terms of the availability of the subtitles and captions, particularly when you do go to the cinema you might be able to sink into the film a wee bit easier if subtitles aren’t on the screen, but if someone needs subtitles, they can’t view the film.
Janice: That’s it.
Pasquale: Yeah. I think there’s a really interesting conversation around that, particularly with art house cinemas and the idea that they are maybe a wee bit hesitant to put captions on their English language content, even though they screen predominantly foreign language, but they’re not hesitant to put out their wheelchair ramp.
Megan: And it’s that type of same access that they’re providing, so I think that there’s a larger conversation around why we want subtitles on films, and it’s because of the idea that more people can go see these films and enjoy them.
Janice: Don’t you think, Pasquale, that because there’s been a sea change in people like me enjoying, for the small screen anyway, the ability, to do with the mumbling or whatever, to be able to, you know, actually see, read what they’re saying, don’t you think, because of that, there should be less hesitancy amongst arthouse cinemas or wherever to roll out the subtitles and the captions for English language films?
Pasquale: Yeah, I mean, I do think so. I mean, obviously it’s something that happens a lot in other countries but obviously it’s very different over here, so maybe there’s less of this pressure, perhaps, to put it on these screens, but it’s definitely something that happens in Italy in France, where you have cinemas playing all the big hitters, all the big films in dubbed versions, but also with, in original versions as well.
Janice: Yeah. Certainly, thinking about what you’re doing with Matchbox Cinema Club [sic], is there a lot of… I mean, do you go for a lot of foreign language films or is that not what your main thrust is when you’re thinking of programming?
Megan: So, our main, core programme is about films you can’t see anywhere else, so that’s predominantly archive and world cinema, so foreign language. We also have our tent pole, larger weekend festivals, that are a wee bit more mainstream films, but they’re all captioned as well. And, for us, a lot of that is that we’re able to produce those captions in-house but we’re also, you know, able to bring in people – you can see Con Air, maybe on Netflix, but you can’t see it, you know, captioned on the big screen elsewhere.
Janice: Yeah. Just finally, what you were saying there, Pasquale, you were talking about a brilliant Indonesian action film.
Janice: That’s the thing, there’s such a richness out there and I’m as guilty as anybody else of not exploring, you know, the rest of the world’s cinema ’cause there’s so much else to catch up with and somebody like Mark Cousins always makes me feel guilty ’cause he plunges into it all the time, but there’s so much brilliant film-making going on, right around the globe. Yeah, and actually, talk about Mark Cousins, I mean, Moviedrome was a real formative moment for me in terms of film education, that great series back in the ’90s and with Mark Cousins and Alex Cox, but, yeah, I mean, just one look at Netflix, and I was just having a look at the international titles that they have and on their front page, the lead page is The Pianist, the Roman Polanski film.
Pasquale: But I was just looking at some others that they’ve got. They’ve got this terrific film called The Guilty, which is a film, a Danish film. One actor, just one actor in the film, so a bit like that film Locke, with Tom Hardy.
Pasquale: This is about an emergency police dispatcher who takes a call from a kidnapped woman. Very, very spare locations. Very, very suspenseful 90 minutes, less than 90 minutes and you’re done. And it’s a terrific film!
Janice: I’m writing it down. Guilty. Thank you very much indeed. Do you know what? We’ve talked so much, I can only play a little bit of the final song now, but I thought that was fascinating. Thank you very much indeed, Pasquale Iannone and Megan Mitchell. Cheers.
Megan: Thank you.
Pasquale: Thank you.
Janice: And, Megan, yeah, Cage-a-rama 2020 taking place from the 3rd to 5th of January at the CCA in Glasgow, for all your Nicolas Cage needs, hosted by Megan and her team. Thank you very much indeed.
All of Matchbox Cineclub’s programmed is subtitled for the deaf and hard of hearing. Keep up to date with our events by signing up to our mailing list, here, or find our events on Facebook here. For more information on our subtitling service, read our dedicated page here.
Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.
Scotland’s cult film festival returns to CCA Glasgow this month, with three days of strange and unseen cinema from around the world.
Weird Weekend, Scotland’s cult film festival returns to CCA Glasgow this month with three days of strange and unseen cinema from around the world, beginning Friday 30th August and ending Sunday 1st September.
Weird Weekend2019 features extremely rare screenings of lost masterpieces, brand-new restorations and UK premieres of future classics. 13 films and events over three days include a 35th anniversary, 35mm screening of the long unavailable Bill Murray sci-fi comedy Nothing Lost Forever(Tom Schiller, 1984), a rare outing for Tilda Swinton’s quadruple-role tour-de-force Teknolust (2002) and a 30th anniversary outing for the workprint cut of The ’Burbs (Joe Dante, 1989), with extended scenes and an alternative ending. Joe Dante will join the audience via Skype for a post-screening Q&A.
The film programme also includes: Brand-new 2K preservations of I Was A Teenage Serial Killer (1993) and Mary Jane’s Not A Virgin Anymore (1997) from the sadly departed “Queen of Underground Film” Sarah Jacobson, in association with Pity Party Film Club; Vibrations (Mike Paseornek, 1996); Freak Orlando (Ulrike Ottinger, 1981) in association with Scottish Queer International Film Festival; The UK premiere of AGFA and Bleeding Skull’s The Neon Slime Mixtape; Jane Arden and Jack Bond’s Anti-Clock (1979); Věra Chytilová’s Wolf’s Hole (1987); Dead Mountaineer’s Hotel (Grigori Kromanov, 1979) in association with The Reptile House; and the 2K-restored, extended cut of Chris Shaw’s Split (1989).
Matchbox Cineclub also welcome prominent Deepfake creator Ctrl Shift Face in person for the panel event, Weird World of Deepfakes in association with Trasho Biblio. A specially-curated feature length programme of Deepfakes will play on a loop in CCA’s cinema throughout the festival weekend. Finally, The Arrow Video Cult Film Quiz returns for the second year, with much swag up for grabs.
All films screen with open captions for the deaf and hard of hearing, and tickets are priced on a sliding scale, from £0-8. You judge for yourself what you should pay, with reference to our sliding scale guide.
You can browse the full Weird Weekend programme on Issuu, and all tickets and passes are on sale exclusively in our online shop.
Read Helen Wright of Scottish Queer International Film Festival (SQIFF)’s presentation on making your film screenings and events accessible to everyone
At the July Scalarama Glasgow meet-up, Helen Wright (Scottish Queer International Film Festival) gave a presentation and led a discussion on accessibility for film screenings. Helen covered basic principles, and practical access measures for screenings and for marketing film events.
Helen has very kindly allowed us to host the PowerPoint (above), which formed the basis of her presentation. Material from all of 2019’s Scalarama meetings/workshops in Glasgow, including guides to licensing, venues, tech set-up and social media, here.
Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.
Basic principles, dos and don’ts and tips for promoting your film screenings online
This is intended to provide basic principles and practical tips for making the best use of social media, as an independent film exhibitor. It’s not intended to be definitive, or a magic wand to conjure likes, shares and follows. Different things will work for different exhibitors and different events. If you have any tips or advice to add, please let us know!
Basic Social Media Dos
Have a clear identity for your page
Have a clear idea who you want to appeal to
Be concise – keep it short and economical
Be as visual as possible
Be discoverable – use hashtags (appropriately)
Be responsive – if people engage with your posts, engage with them – and reply to queries ASAP.
Be a real person – e.g. post a picture of you putting up a poster, rather than the poster itself
Use active language and calls-to-arms (Buy, try, “get tickets”, “check this out”)
Post regularly (keeping in mind the requirements of each platform)
Tailor/adapt your content and tone for different platforms
Pay attention to what works well for you, your page and your events
Research – see what other exhibitors, venues, platforms are doing that works and suits you
Experiment – most platforms share information with you so you can easily find what works and what doesn’t
Develop a strategy based on all of the above
Plan and schedule posts
Ask people or accounts to share your content and share theirs
Basic Social Media Don’ts
Post/talk only about yourself/your event(s)
Panic cluster-post at the last minute
Tag random (or friendly but not immediately relevant) people or accounts in tweets and/or pictures
Re-use (i.e. steal) content without attribution
Overuse hashtags, especially “comedy” hashtags
Content | Always ask the distributor if they have marketing material available. This can include stills, posters, trailers, press releases which you can draw quotes and/or additional information from, and also any guidance to follow, especially if it’s a new or recent release – much better to adhere to their release campaign strategy, if there is one. If it’s an older film, you should still ask if there’s material available. There are also various resources online. Look for the website of the marketing team company, if there is one, which often will host marketing materials for download. For posters in particular, try wrongsideoftheart.com, impawards.com or cinematerial.com (the latter requires a small subscription fee). Don’t use images or material from other people’s screenings, at least without permission.
Presentation | You can optimise your images for presentation on the various platforms (i.e. a portrait-oriented poster won’t display fully on Twitter). Twitter now offers automatic cropping of your images in three styles on its new desktop version. Otherwise, you can make reference to the Always Up-To-Date spreadsheet for social media image sizes, which will give you the right sizes for various uses across Facebook, Instagram, Twitter, LinkedIn, Pinterest, YouTube and Tumblr. There’s also a free-to-use online re-sizing tool, Landscape, which you can instruct to automatically resize and download images you upload to whatever specifications you need. Sprout Social have produced guides on presentation for images (here) and videos (here).
Any links you use, you can trim so that they don’t display all the unnecessary detail and they will still work. E.g. “https:// matchboxcineclub.com/weird-weekend” can become “matchboxcineclub.com/weird-weekend” and still work as a hot link on all social media platforms. Better yet, you can sign up for a free bitly.com account and, if they’re not already taken, create shortened links, with customised back-halfs, for free. E.g. bit.ly/WEIRDWEEKEND. On Facebook, you can also tag your events in posts the way you would a person, typing @ followed with the event name to find it.
Finally, you know how sometimes a link from another website won’t present properly, i.e. with no image, or the wrong image? That’s often because it’s never been shared before, and you can get around that by testing the link with Facebook’s debugger or Twitter’s card validator.
Timing/frequency | To boil it right down – post once or twice a day on Facebook, a similar frequency for Instagram and as often as you like on Twitter. Facebook in particular would like to encourage you to pay to boost posts or create sponsored posts, so it’s designed to discourage a wide audience for anything you share that involves a ticket link or an event page. You’re less restricted in posting Stories. Likewise, you have freer rein when posting in Facebook event pages – and it’s a good way to keep people interested between announcing your event and it happening. Beware over-posting, though, because non-stop notifications for attendees can be a drag. Getting the best from Twitter requires investment of your time above all else. A tweet has a half-life of about 30 minutes and to get people to engage with your posts, you also need to engage with theirs. In all cases, its good to share content that isn’t about you or (directly) about your event.
You can also use some statistical information to guide when to get the best response from your posts – Sprout Social (NB otherwise a subscription service) offers some insights for the various platforms. Read their “Best times to post on Social Media for 2019” post here.
Subtitles/Captions | Providing these is necessary to make your posts accessible. It’s also a very basic way to increase engagement, since videos are automatically muted on most platforms. Subtitles draw people in. Facebook and YouTube will auto-generate subtitles which you can then edit, or you can upload them as a separate file. There are also ways to create subtitle files separately and burn them into the video. For more advice on any of that, email firstname.lastname@example.org. Free subtitling software includes: Aegisub, Amara, Belle Nuit Subtitler and Subtitle Edit (Windows only).
NB “Subtitles” describe what’s spoken, while “Captions” also include sound and music labels and speech identifiers, etc.
Alt-text for images | This is a very straightforward way to make your posts accessible for the visually impaired – you add text separately describing the images (but not GIFs or videos) you post. On Twitter, you have to enable the feature via Settings and Privacy > Accessibility. On Facebook, it’s a universal feature, although the alt-text is extremely limited in terms of character count. Read Twitter’s guide here. Read Facebook’s guide here. Read Instagram’s guide here.
How alt-text works on Facebook, preparing to post an image:
How alt-text works on Facebook, after you’ve posted an image:
How alt-text works on Twitter (NB you can’t edit after posting):
Sponsored posts | These can be extremely effective compared to print marketing, especially for independent exhibitors who can’t rely on the same reach, footfall or press attention as venues, festivals or bigger exhibitors. Facebook and Twitter are both very good at targeting to specific people, whether it’s people who already follow your page (and may miss your posts due to the algorithm or the speed of constantly unravelling newsfeeds), or a particular demographic, e.g. people who live near your event, young people, or people who like horror films. Facebook is a lot more user friendly than Twitter, though both require experimentation and attention to get the best results. Some reluctance to engage with this aspect of social media is understandable, but keep in mind, if you’re doing it right, you’re showing people something they want to see.
NB If you’re participating in Scalarama Glasgow/West, Edinburgh/East, or Highlands and Islands, and you’re making Facebook events for September, please make your local Scalarama page a co-host. You can also add something along the lines of “Screening as part of Scalarama 2019” to your event description, and make sure to tag Scalarama in your relevant posts, tweets, etc, using the hashtag #Scalarama or #Scalarama2019.
This guide was made for Scalarama Glasgow’s July 2019 meeting, presented by Sean Welsh. Sean is responsible for Matchbox Cineclub and Scalarama Glasgow’s social media. He also planned and operated social media for Document International Human Rights Film Festival as Production Coordinator in 2016 and 2017.
Passes for Weird Weekend, our cult film festival, are £40 (weekend) or £20 (day), and single tickets are priced on a sliding scale, based on your circumstances – you decide what to pay, with reference to our guide. There are three tiers: Free/£2, £4/£6 and £8.
FREE or £2
• I frequently stress about meeting basic* needs and don’t always achieve them.
• I have debt and it sometimes prohibits me from meeting my basic needs.
• I rent lower-end properties or have unstable housing.
• I sometimes can’t afford public or private transport. If I own a car/have access to a car, I am not always able to afford petrol.
• I am unemployed or underemployed.
• I qualify for government and/or voluntary assistance including: food banks and benefits.
• I have no access to savings.
• I have no or very limited expendable** income.
• I rarely buy new items because I am unable to afford them.
• I cannot afford a holiday or have the ability to take time off without financial burden.
£4 or £6
• I may stress about meeting my basic needs but still regularly achieve them.
• I may have some debt but it does not prohibit attainment of basic needs.
• I can afford public transport and often private transport. If I have a car/access to a car I can afford petrol.
• I am employed.
• I have access to health care.
• I might have access to financial savings.
• I have some expendable income.
• I am able to buy some new items and I buy others second hand.
• I can take a holiday annually or every few years without financial burden.
• I am comfortably able to meet all of my basic needs.
• I may have some debt but it does not prohibit attainment of basic needs.
• I own my home or property or I rent a higher end property.
• I can afford public and private transport. If I have a car/access to a car I can afford petrol. • I have regular access to healthcare.
• I have access to financial savings.
• I have an expendable** income.
• I can always buy new items.
• I can afford an annual holiday or take time off.
*BASIC NEEDS include food, housing, clothing and transportation.
**EXPENDABLE INCOME might mean you are able to buy coffee or tea at a shop, go to the cinema or a concert, buy new clothes, books and similar items each month, etc.
Weird Weekend takes place at Centre for Contemporary Arts, Glasgow, on Friday 30/08, Saturday 31/08 and Sunday 01/09/2019.
Guest writer Claire Biddles (Sad Girl Cinema) writes on female desire and fandom in German horror Der Fan ahead of our co-screening on July 21st. Beware spoilers!
“No letter today. I wrote to R over three weeks ago, and still no answer. Maybe he never got my letter. Maybe some jealous secretary got her hands on it and decided not to give it to him. Because she could tell I love him more than she does. Really love him.”
Although written and directed by a man – prolific German filmmaker Eckhart Schmidt – 1982 cult horror Der Fan is one of the most convincing depictions of female fandom, obsession and desire in cinema. Its descent into cartoon excess represents the heightened fantasy end point of pop star adulation, but it is grounded in uncomfortable truths.
Der Fan follows German teenager Simone, who is disengaged and almost catatonic as she sleepwalks through the drudgery of her home and school life. She barely speaks, but through her narration we discover the reason for her vegetative state: her every waking moment is devoted to intense thoughts of R, a new-wave pop star who she adores above anything else. Her bedroom walls are covered in monochrome images of him, and she listens to his songs via an omnipresent cassette Walkman that separates her from the real world. She no longer pays attention to schoolwork: “What’s the use? I can’t think of anything except R and how much I need him.”
The signifiers of fandom are familiar, but the execution is unusual. Rather than a depiction of the (often communal) hysterical excitement of fangirls, Der Fan traces its solitary, destructive flipside. It’s telling that the film’s alternative English title is Trance: Simone’s desire is so all-encompassing that other people fail to register — her teachers, parents, more appropriate romantic suitors. Her unreciprocated obsession is so all-encompassing that it becomes destructive; cancelling out its mundane surroundings.
Simone’s desire has left her with a one-track mind in the centre of a void, wandering the streets in a fugue state. The film’s atmosphere is a dull ache: rain and suburban streets and municipal buildings. R’s music is the kind typically made by inhabitants of these post-industrial landscapes – the soundtrack by Düsseldorf group Rheingold recalls the driving empty urbanity of Joy Division or Bauhaus.
Simone has written R a letter to which he hasn’t responded. Every day she drags her feet to the post office in anticipation of his reply; a voiceover counting the days like a prison sentence. When she tires of waiting, she tracks him down outside a TV studio, and they finally meet. Simone is speechless — she collapses and he rescues her, taking her inside the studio to watch his performance being filmed.
The link between the devotion of pop fandom and the manipulative power of political dictatorship is often made in films about charismatic pop stars – most recently in Brady Corbet’s twin films Childhood of a Leader and Vox Lux. The allusion is sometimes clunky: in Der Fan, images of mass-saluting crowds are interspersed with images of R in Simone’s bedroom; in the television performance that Simone watches, R wears a militaristic uniform surrounded by saluting mannequins. The sinister creep of R’s power is more subtly expressed in the similarity between R and Simone when they finally meet, both wearing almost identical outfits of white shirts and dark leather trousers. This could be read as a symbol of R’s control over Simone (and others – his secretary is also seen in a similar outfit) but also of Simone’s desire to possess him so much that she literally starts to become him: an under-reported but fundamental manifestation of fandom.
This desire is made explicit (and then some) in the film’s audacious final act. After their meeting at the television studio, R takes Simone to his friend’s empty apartment where they have sex. After this ultimate act of wish-fulfilment, R disappoints Simone with his aloofness – his desire for a simple one night stand not matching up to her overwhelming need for him. The film’s final twist sees her react with extreme and perverted violence.
While committing this strange violence, Simone is single-minded and determined, her demeanour as trance-like as when she was yearning for R at the start of the film. She’s detached and withdrawn, an empty vessel. If obsession destroys everything around the object of desire, it’s no surprise that it will eventually start to erode the self, too. So much of Simone’s sense of self is constructed around her desire for R, and her desire for R is constructed around a fiction of her own creation. Like so many relationships between fan and fan-object, Simone projects her own base needs onto the empty vessel of a pop star. He can be anything she needs him to be. Even his single-letter name is ripe for projection – a hyper-concentrated version of the iconic mononymous pop star. Nobody knows what the ‘R’ stands for, so it could stand for anything. His post-punk voice is monotonous and anonymous, but Simone fills it with subjective meaning: “He always sings with that same voice, but to me it sounds different every time.” This projection is disrupted once Simone meets the ‘real’ R. When the fan-object disintegrates into nothing, the fan’s whole sense of self is in flux.
Although it presents an extreme manifestation of fandom and obsession, Der Fan’s depiction of desire as a nihilistic force is rooted in truth. It can also be argued as a subtly feminist film: its moral could be that female desire is deadly and destructive, something for men to be afraid of — but also that desire for men is destructive for women too. So many narratives around fandom are rooted in pop stars’ potential to ‘save’ their fans, but Der Fan suggests they can just as easily destroy them — or help them to destroy themselves.
Der Fan screens on Sunday 21/07 at Centre for Contemporary Arts, Glasgow, followed by a panel discussion on obsession, fandom and thirst, moderated by Claire Biddles.
Tickets are on sale via Matchbox Cineclub’s online shop here, and are priced on a sliding scale, according to your means.
Keep up-to-date with the Facebook event page here.