The BECTU History Project

This project has involved interviewing people involved in British film and TV productions, in a technical capacity. Please note that if you want to use this collection, you need to obtain clearance from the project at BECTU first.

What is the BECTU History Project?

This oral history initiative includes over 500 interviews with members of the Broadcasting Entertainment Cinematographs & Theatre Union.

How the History Project came into existence

Today there is a virtual glut of specialised film and television magazines and related material but this is a relatively recent phenomenon. As anyone researching pre-1970s history of film and television in the UK can confirm, surprisingly little original source material has been published. The further back one goes the scarcer it becomes. Large areas of British film and television history are completely undocumented and the only remaining means to bridge such voids are by talking to those who were involved.

In 1986 a small group of long-time members of the ACT/ACTT (the film and television technicians' specific union later amalgamated into BECTU) became concerned that, with the passage of time and the passing of friends, colleagues and mentors, vital knowledge of past events was being irretrievably lost. They mutually agreed therefore that to preserve some history of their ephemeral industries they would embark upon an ongoing programme to record representative individuals talking about their work and careers.

The scope of the History Project

At the outset then those founders of what is now the BECTU History Project settled on the primary aim of collecting unique recollections and memories.

The Project's focus is not however solely retrospective. Popular areas of activity are covered to saturation by national media, which tend to concentrate on feature film production, stars, directors, and the like. Many other important and revealing matters are largely overlooked.

The group therefore has always included among its interviewees those whose contributions may not have seemed so glamorous but who were nevertheless intrinsic parts of their industries. These have included editors, sound recordists, plasterers, electricians, costume designers, continuity, art directors, et.al. The Project does not however simply attempt to cover production disciplines. It includes laboratories, distribution and exhibition, and takes in not only features but also shorts, newsreels, documentaries, etc.

BECTU has generously provided a base for the Project but the scope has always been broad-based and never limited to chronicling film and television trades unionism: however the impact of unions - or lack of it - is covered as an integral aspect of any discussion of working conditions and industry economics.

Until now the recordings have invariably been made on audio cassettes. While this has been mainly because of cost considerations there are the additional factors of the ease of the subject and the transportability of equipment. Now, however, an exploratory start has been made to record on digital video using a camera donated by SONY Corporation. Of vital concern, naturally, is ensuring that the archival material survives into the distant future.

Tape storage & listening facilities

The Project has stretched its minuscule (and hard-won) funds quite miraculously but has never had sufficient resources to set up dedicated facilities for proper archival storage and access. The BFI has always been the principal repository. Master tapes go to the National Film & Television Archive for permanent preservation in controlled conditions. Listening copies are made available at the bfi National Library.

Procedures for accessing tapes

Initially an application has to be made to the History Project's Committee, outlining the subject area and purpose of research, e.g. a thesis on Gracie Fields for an MA course; a dissertation on wartime newsreels for a United States doctorate of philosophy; a definitive biography of Alfred Hitchcock; a commemoration of Sidney Cole's career; a television documentary on Alexander Korda; the obituary of a pioneer sound editor, etc. The group is most keen to have its material used to the full and no genuine researcher has ever been turned down. Access application forms are available from either the Project or from the bfi National Library.

Since at present the Project does not possess its own public listening facilities a complete set of tape copies is housed with the bfi National Library. So far only a small number of interviews has been transcribed and these transcriptions are also housed in the Library. Meanwhile much effort is being made through a lottery application, solicitation of other donations, and co-operation with various academic institutions to embark on a comprehensive transcription programme but this requires considerable finance and effort. Participation by any such institution is always welcome and actively invited.

Albeit access to the bfi National Library is restricted to Library members many academic institutions have corporate memberships, providing that institution with membership cards for use by course students. BECTU members are able to use their union's corporate passes. Presentation of such a card allows full access to the collection, including the tapes. Alternatively, a student may take out reduced student membership or a day membership.

Applicants are advised to contact the library in advance so that listening equipment is available by appointment.

The BECTU History Project
373/377 Clapham Road London SW9 9BT
Tel: 020 7346 0900
Fax: 020 7346 0901
email: histproj@bectu.org.uk