Boy meets girl. Thanks to boy using top-quality soap. Welcome to branded content 1923-style, lightly tailored for the lower half of the cinema programme. Filmed in strikingly scenic Lynmouth, North Devon. player.bfi.org.uk/free/film/watc…

The War Machine: casting & manufacture of 12"50 calibre naval gun, captured on celluloid during first golden age of the industrial process film. Filmed in Newcastle by UK producers Cricks & Martin, survives in the form of a version with German intertitles! player.bfi.org.uk/free/film/watc…

Rarely post tweets of personal nature but do now, to mourn a friend who died Friday. Met Peter Pickering in connection w/ his film career; a deeper friendship developed. Interesting, kind, wise, he'll be remembered always by my family & me. This portrait is such a fine likeness:

Thank you to Patrick Russell (BFI) for sharing his write up of the EVCOM London Live and Film Awards with us! We're so glad you were able to join us to celebrate creativity and excellence in our industry! Read his article: bfi.org.uk/features/best-… #eventsindustry #corporatefilm

Peter Pickering obituary. Film-maker who spent three decades documenting the lives of miners for the National Coal Board. theguardian.com/film/2020/dec/…

I’m really glad that it was Patrick Russell who was the one who got to record the final overview of my dad’s working life. A life I was only alive for two years of. Patrick was the perfect person for it. theguardian.com/film/2020/dec/…

A lovely obituary for Dad by ⁦Patrick Russell⁩ Peter Pickering obituary | Film | The Guardian theguardian.com/film/2020/dec/…

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... Peter was one of the UK’s great filmmakers + the man behind one of Paul Robeson’s best moments captured on film. Paul Robeson sings to Scottish Miners (1949) (filmed at Woolmet Colliery). RIP Peter! Obit on the Guardian website: theguardian.com/film/2020/dec/…

“It’s my music, too.” R.I.P. Charley Pride, one of the greatest country acts, and one of the greatest popular artists, we’ll ever be so lucky to know. I tried to get down a bit of why he matters (present tense) in this essay from last year. #charleypride newyorker.com/culture/cultur…

I put together this playlist of Pride's lesser-known tracks, Charley Pride: Beyond the Hits. Hardly complete--his catalog is DEEP, people--but when you get through re-listening to the singles... #charleypride open.spotify.com/playlist/5UXOt…

Have yourself a curatorial Christmas. Seasonal selections from the BFI National Archive, gift-wrapped by a few of its staff youtu.be/FbikuD3k3QY

Briefly breaking long Twitter silence to celebrate publication today of 𝙹𝙴𝚉 𝚂𝚃𝙴𝚆𝙰𝚁𝚃' brilliant book The Story of British Animation. 1st in a new BFI/Bloomsbury series British Screen Stories - exploring true width, breadth, depth of UK film/TV histories shop.bfi.org.uk/pre-order-the-…

Looking forward to the first screening of our splendid new restorations in The Camera is Ours: Britain's Women Documentary Makers season BFI Southbank on Thu 3 Mar, incl. The English Inn (1941), directorial debut of Muriel Box Carol Morley whatson.bfi.org.uk/Online/default…

Another rare return to Twitter for me- to highlight upcoming screenings & other cool stuff that my colleague Ros has been overseeing, on vital subject of women in British documentary making- past & present. Incl some great #BFINationalArchive restorations. Follow Ros for more

Something Nice to Eat is a favourite, and I would love to see the other films. So much interesting overlap in terms of women making sponsored and industrial films in the UK and Canada.

In a vivid new account of the dawn of film in Britain, film historian and curator Bryony Dixon introduces us to Britain's first cinematic pioneers. The Story of Victorian Cinema is out now: bit.ly/3Rd3i4e