A film society is a membership-based club where people can watch screenings of films which would otherwise not be shown in mainstream cinemas. In Spain, Ireland and Italy, they are known as "cineclubs", and in Germany they are known as "filmclubs". They usually have an educational aim, introducing new audiences to different audiovisual works through an organized and prepared program of screenings.
Editorial output reinforces the work of these organisations, as they produce hand-programmes, brochures, schedules, information sheets, and even essays, supporting the significance of their exhibitions. A common feature that may characterize a film society screening is that they begin with an introduction of the film to the audience, and end with the promotion of a discussion about the film, where assistants, organizers and sometimes the filmmakers themselves, exchange their views.
The film society movement originated in France in the time between the two world wars (see below). The international body for film societies is the International Federation of Film Societies. This international association was set up in 1947 in Cannes (France) among groups of film societies in countries throughout the world and this association is called Fédération Internationale des Ciné-Clubs (F.I.C.C.).
Australia
Founded in 1946, the Hobart Film Society is the oldest continually operating film society in Australia.[1] The Melbourne Cinematheque began as the Melbourne University Film Society (MUFS) in 1948 and changed its name to Cinémathèque in 1984. The national body for film societies in Australia is the Australian Council of Film Societies (ACOFS) was established in 1949.
Film society movement in Bangladesh was started in 1963. The young generation of the '70s is continuing this society culture. From their effort, there are now quite a few film societies in Bangladesh. The parent organization is Federation of Film Societies of Bangladesh (FFSB). Prominent film societies in Bangladesh are:
The beginnings of Canadian film education may be traced to the relatively late arrival of the film society movement. While the earliest film societies were formed in Paris in 1924 and in London the following year, it was not until 1935 that Donald Buchanan assembled a sufficient number of film enthusiasts to launch the National Film Society of Canada. That organization, largely modelled on the British Film Institute, took as its mandate the establishment of a genuine film culture. Within a year, the society opened branches in Ottawa, Toronto, Montreal and Vancouver.[2][3]
After a wartime hiatus, the Canadian film society movement enjoyed what may now be seen as its golden age. The Vancouver branch of the National Film Society, for instance, reformed in 1945-46, and collaborated with the Film Survey Group of the Labor Arts Guild to present an ambitious program of more than sixty classic films to enthusiastic audiences.[4] The National Film Society, renamed the Canadian Film Institute in 1950, became a clearing house for a growing number of societies across Canada. It was soon a victim of its own success as the groups broke away in 1954 to form the Canadian Federation of Film Societies (CFSS). Spearheaded by Dorothy Burritt, CFFS member societies programmed ambitious retrospectives often accompanied by lengthy and erudite program notes.[2]
The term "film club" appears for the first time in April 1907 with the creation of Edmond Benoit-Lévy[fr]'s "Film club." Located at the 5 Montmartre boulevard in Paris, it is to preserve and place at the disposal of its members all the cinematographic documents and productions existing. It is also equipped with a room of projection.
The Italian film theoreticianRicciotto Canudo who had been living in Paris since 1921 founded one of the first film societies.
After the first world war the film director and film critic Louis Delluc founded one of the first film societies and the important film magazineCinéa.
After the second world war the movement of ciné-clubs boomed. In 1945 the film society of Annecy was founded from which originated the Annecy International Animated Film Festival. In 1948 André Bazin together with Jean-Charles Tacchella, Doniol-Valcroze, Astruc, Claude Mauriac, René Clément and Pierre Kast founded the avantgarde film society Objectif 49. Jean Cocteau became its president. This film society became the cradle of the Nouvelle Vague. Objectif 49 organized the Festival du Film Maudit which took place in Biarritz in 1949.
François Truffaut has depicted vividly Bazin's engagement in the ciné=club-movement:
"During the first days of our friendship - it was about 1947 - I had the chance of accompanying him at his film presentations and observing him who he projected two short films of Chaplin - first in a Dominican monastery and two days later to the workers in a metal factory in their short break between their lunch and their return to their workbenches. At both occasions he managed to inspire his audience and to draw everybody into the discussion."
The first French film society exclusively for women was founded in the 1970s in Toulouse.
In 2005 the Musée Dapper in Paris founded the first film society entirely concentrating on the cinema of Africa, the Caribbean and the African-American diaspora - the occasion being the celebration of 50 years of African Cinema.
The first film clubs developed in Germany after 1945 upon the suggestion the British and French after the Second World War, in order to promote non-political strictly cultural exchange and democratic consciousness. In the 1950s, the decade of the flowering of the film club movement, gave it a wave of reestablishments, also in the Soviet occupation zone and/or later German Democratic Republic. The film clubs became either independent associations or worked under a carrier, which itself education and culture had used up. From them important impulses for the German film landscape proceeded, for example the establishment of film festivals as from International Filmfestival Mannheim-Heidelberg. In the German Federal Republic however the number of the film clubs decreased to such an extent that in 1971 the Federal association dissolved. For the 1970s stepped in many places local cinemas to the place of the film clubs. With the collapse of the German Democratic Republic, many East German film clubs lost the financial and organizational basis, succeeded also here unite the step to the local cinema. There are two national bodies for film societies in Germany who are members of the International Federation of Film Societies, the Bundesverband Jugend und Film e.V., and the Bundesverband kommunale Filmarbeit.
Hungary
In Hungary, there is quite a vivid cine-club life with involving hundreds of viewers and dispute partners week by week... The first Hungarian film club is dated back to 1956, as you can read here:[6]
India
Filmmaker Satyajit Ray founded the first Indian film society, the Calcutta Film Society in 1947. In 1959, Federation of Film Societies of India was formed as a central organization combining the film societies of Calcutta, Delhi, Bombay (now Mumbai), Madras (now Chennai) and Patna. Satyajit Ray was elected president. In Chennai, in 1981 Chennai Film Society was started by serious film buffs and film institute graduates. M. Sivakumar was its founder secretary and Sasikumar was its founder president. It was active for 15 years with screening of international films, conducting film appreciation courses, meeting up with film makers, screening retrospective of masters and anniversary film festival. It ran a film magazine in Tamil called Salanam for five years. With the advent of DVDs, satellite television channels, and many of its society organizers got active in film making, the Chennai film society slowly disappeared.
According to film scholar Amrit Gangar it is necessary for a member to be at least 18 years old as film societies are allowed to show uncensored films being exempt from censorship laws.[7] yadharthaa is a Film society functioning from 04-12-1978 in Madurai Tamil Nadu. Tamil Nadu Children Film Society organising Madurai International Children Film Festival from 2004.
Ireland
The Irish Film Theatre operated as a film club in Dublin from 1977 to 1984. It offered audiences art and international films not usually shown by commercial cinemas, and the venue was unusual in showing uncensored films. Irish censorship law only required films that were shown to the general public to be submitted for censorship, and films screened by clubs were exempt from censor review, and cutting or banning.[8]
New Zealand
The first New Zealand Film Society was set up in 1945.[9] In 2015 the New Zealand Federation of Film Societies represented fourteen regions.
Norway
Norwegian film societies are called filmclubs, and their national body is The Norwegian Federation of Film Societies.[10] The first filmclubs were founded at the end of the 1950s in Oslo and Narvik, and since then the film society movement has thrived both in the big cities, and in more rural areas of Norway.
The first film society was established in London in 1925 by a group of intellectuals and enthusiasts including Iris Barry, Sidney Bernstein, Baron Bernstein, Adrian Brunel, Hugh Miller, Walter Mycroft, and Ivor Montagu, to show films which had been rejected on commercial grounds, most of them European, and films which had been rejected by the censor, most of them from the Soviet Union. It counted among its sponsors George Bernard Shaw, H. G. Wells, and numerous members of the Bloomsbury Group. It was simply called the Film Society, but is often referred to as the London Film Society as it was followed by many others in the next fifteen years. These included the Edinburgh Film Guild (1929, still in existence) and the Salford Workers Film Society (1930; this became the Manchester & Salford Film Society, still in existence).[13][14][15] Its activities came to an end in 1939, though after the war the New London Film Society was something of a successor body.
"From 1946 until 1954, 'Art in Cinema' presented programs of independent film to large audiences at the San Francisco Museum of Art and at the University of California, Berkeley."[16] Inspired by film projections which Maya Deren had organized, Amos Vogel and his wife founded Cinema 16 in 1947.
Henri Langlois was a French film archivist and cinephile. A pioneer of film preservation, Langlois was an influential figure in the history of cinema. His film screenings in Paris in the 1950s are often credited with providing the ideas that led to the development of the auteur theory.
The Cinémathèque française, founded in 1936, is a French non-profit film organization that holds one of the largest archives of film documents and film-related objects in the world. Based in Paris's 12th arrondissement, the archive offers daily screenings of films from around the world.
Meghe Dhaka Tara is a 1960 film written and directed by Ritwik Ghatak, based on a social novel by Shaktipada Rajguru with the same title. It stars Supriya Choudhury, Anil Chatterjee, Gita Dey, Bijon Bhattacharya, Niranjan Roy, and Gyanesh Mukherjee. It was part of a trilogy consisting of Meghe Dhaka Tara (1960), Komal Gandhar (1961), and Subarnarekha (1962), all dealing with the aftermath of the Partition of Bengal during the Partition of India in 1947 and the refugees coping with it.
Amos Vogel was a New York City cineaste and curator.
Tareque Masud was a Bangladeshi independent film director, film producer, screenwriter and lyricist. He first found success with the films Muktir Gaan (1995) and Matir Moina (2002), for which he won three international awards, including the International Critics' FIPRESCI Prize, in the Directors' Fortnight at 2002 Cannes Film Festival. The film became Bangladesh's first film to compete for the Academy Award for Best Foreign Language Film.
The San Francisco International Film Festival, organized by the San Francisco Film Society, is held each spring for two weeks, presenting around 200 films from over 50 countries. The festival highlights current trends in international film and video production with an emphasis on work that has not yet secured U.S. distribution. In 2009, it served around 82,000 patrons, with screenings held in San Francisco and Berkeley.
The Melbourne Cinémathèque is a non-profit membership-based film society screening programs year-round, dedicated to presenting the history of world cinema on the big screen in carefully curated retrospectives. It screens at ACMI in Melbourne.
The American Cinematheque is an independent, non-profit cultural organization in Los Angeles, California, United States that represents the public presentation of the moving image in all its forms.
Cinephilia is the term used to refer to a passionate interest in films, film theory, and film criticism. The term is a portmanteau of the words cinema and philia, one of the four ancient Greek words for love. A person with a passionate interest in cinema is called a cinephile, cinemaphile, filmophile, or, informally, a film buff. To a cinephile, a film is often not just a source of entertainment as they see films from a more critical point of view.
A cinematheque is an archive of films and film-related objects with an exhibition venue. Similarly to a book library, a cinematheque is responsible for preserving and making available to the public film heritage. Typically, a cinematheque has at least one motion picture theatre, which offers screenings of its collections and other international films.
Filmclub was an education charity that sets up film clubs in schools and other education and care establishments in England, Wales, Northern Ireland, Scotland, and the Isle of Man. The scheme is free to all state primary and secondary schools in Wales and England. In 2013, Filmclub merged with First Light to become the film-based charity Into Film.
Ciné-Asie is a Montreal-based, non-profit film and media company that seeks to explore the unique identity of Asian-Canadian media arts and artists. Its mission is to develop and create cinema that empowers people who are marginalized by mass media and to introduce the Asian cult and genre films to the wider public. Ciné-Asie is involved in many different projects including film contests, exhibitions and film screenings at the Cinémathèque québécoise.
San Francisco Cinematheque is a San Francisco-based film society for artist-made cinema. It was created in 1961 by a group of filmmakers, including Bruce Baillie and Chick Strand. This screening program grew into Canyon Cinema before being split off into a sister organization, originally named the Foundation for Art in Cinema, during the 1970s.
The Cinematheque, founded in 1972, is a Canadian charity and non-profit film institute, media education centre, and film exhibitor based in Vancouver, British Columbia.
Federation of Film Societies of India (FFSI) is the umbrella body of film-screening societies in India. FFSI is currently a member of the International Federation of Film Society that has its Central Office in Paris. The international organisation is an associate member of UNESCO.
Code Name Melville is a feature length documentary film about Jean-Pierre Melville, directed by Olivier Bohler and produced by Raphaël Millet for Nocturnes Productions in 2008. Its world premiere took place in November 2008 at the Golden Horse Film Festival in Taipei. It has been shown on French channel CinéCinéma Classic in March–April 2010, and on Belgian channel La Deux (RTBF) in May 2010. It is the first feature documentary about Jean-Pierre Melville since he died in 1973.
The Moviyana Film Society is one of the largest film culture oriented organisations in Bangladesh. It was established on 10 November 2006. It regularly arranges Film Screenings, Film Festivals, Film Appreciation course and other Film making related courses in different cities of Bangladesh. Film maker & Writer Belayat Hossain Mamun is the founder and incumbent president of this organization.
Clownery is a black-and-white and colour 1989 Soviet independent film directed by Dmitrii Frolov. It is based on Daniil Kharms novel Situations.
The cinema of Costa Rica comprises the art of film and creative movies made within the nation of Costa Rica or by Costa Rican filmmakers abroad.
↑ "Archived copy". www.federaciocatalanacineclubs.net. Archived from the original on 20 April 2004. Retrieved 12 January 2022.{{cite web}}: CS1 maint: archived copy as title (link)
↑ Scott MacDonald. Art in Cinema: Documents Toward a History of the Film Society Wide Angle Books: Amazon.de: Scott MacDonald: Fremdsprachige Bücher. ASIN1592134254.
Davis, Ben: Beginnings of the film society movement in the U.S. Film & History 24 n3/4 (1994): 6-26.
Art in Cinema: Documents Toward a History of the Film Society (Wide Angle Books), ed. by Scott MacDonald, Philadelphia: Temple University Press, 2006, ISBN1-59213-425-4
MacDonald, Scott: Cinema 16: Documents Toward a History of the Film Society. Philadelphia: Temple University Press, 2003 ISBN1-56639-924-6
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