On 1 September 2010, we participated in Ask a Curator day, a worldwide question-and-answer session hosted on Twitter, inviting members of the public to pose questions to museums and galleries.
Answering questions on behalf of the BFI were Robin Baker, Head Curator at the BFI National Archive, and Rhidian Davis, Curator of Public Programmes at BFI Southbank. Below, are highlights from the Q&A.
dannybirchall: Where do you think the biggest gaps in the NFTVA's collection are? What would you most like to have that you don't?
Robin Baker: The most gaping holes would be plugged if we could locate the following lost British films:
BFI Most Wanted
enoki_e: What influenced you to become a curator and how did you get there?
Robin Baker: Aged eight, my favourite film was Kind Hearts and Coronets, so becoming a curator was rather inevitable. Got there via a degree in archaeology and 18 years working in film exhibition and distribution.
AaronGuyUK: What would be the stance/right procedure to gain access to photograph/use historic collections for documentary projects?
Robin Baker: Permission needs to be sought from both the BFI National Archive and the rights holder of the material. The BFI controls rights to very few of the films and related collections that it holds. More about accessing our collections.
europanostra: The footage you uploaded on YouTube is great. Can this material be used freely to create awareness of cultural heritage?
Robin Baker: If you are embedding a film directly from the BFI's YouTube channel, then yes, of course.
Museodata: What is the most difficult challenge for a curator? How do new technologies influence the curatorship task?
Robin Baker: The biggest challenge is selecting and preserving digitally-born films; the overwhelming range of material, combined with the technological challenges involved is taxing to say the least.
tmtn: Is there any work going on in your museums to engage with those who are socially excluded/homeless?
Rhidian Davis: BFI Southbank's education programme actively engages with a range of audiences who might not ordinarily access our content and services. Some of these audience groups might be considered socially excluded. For example, our annual partnership with Refugee Action celebrates the contribution of refugees to the UK through a range of film-based activities.
We run a programme of free events for seniors, many of whom have particular access requirements and live in challenging economic circumstances. We collaborate with organisations such as Kids Club to broaden horizons for socially excluded young people. Later this year, we will be working closely with film-maker Penny Woolcock, whose challenging new BBC documentary On the Streets aims to give a voice to the homeless people in London.
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