• Regional Screen Scotland

    Helping communities to enjoy great screen experiences

  • Regional Screen Scotland

    Helping communities to enjoy great screen experiences

  • Regional Screen Scotland

    Helping communities to enjoy great screen experiences


Regional Screen Scotland

• provides advice and information on setting up local screen facilities
• operates the Screen Machine mobile cinema
• manages a grant aid fund for Local Film Festivals across Scotland
• advocates for the social and economic benefits of cinema for local communities

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The screen community

Scotland enjoys a diverse screen community, from multiplexes to community halls, from Thurso to the Isle of Whithorn. Where there is a will there is a way to watch films it would seem.    

We’re working to map the totality of cinema provision. See if you are on the map and let us know if you are not.  

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Latest Regional Screen Scotland Blogs

Announcing the Local Film Festival Challenge Fund

November 2, 2017
The Local Film Festival Challenge Fund will offer one-off grants of between £1,000 and £5,000 for activity to take place in the first quarter of 2018, which are intended to help with developing the concept of, building interest for, or planning the format of, a new local film festival, anywhere in Scotland. Why this funding is being offered We’ve learned from managing the Local Film Festival Fund that film festivals can be a highly effective means of building new audiences, and of encouraging existing audiences to try new and different films. They can also be a good way of engaging with young people, addressing contemporary issues, or celebrating a theme or place. You can read more about this in the evaluation of the Fund here. Background From 2014 to 2017 Regional Screen Scotland operated a Development Programme for Local Film Festivals, with funding provided by Creative Scotland and Film Hub Scotland. This provided development funding for five festivals over three years, and a range of one-off grants for festivals across Scotland.  This programme is now drawing to a close, and will conclude with three linked activities: •    A Gathering to celebrate, and share experiences about, local film festivals •    A media campaign to raise awareness of the value of local film festivals in Scotland •    A small, one-off ‘challenge fund’ to support the first stages of developing two or more new local film festivals. The Challenge Activities might include: •    Mentoring support from a more established festival to a new or growing festival •    A regional meeting or meetings to develop a festival concept •    A trial programme of screenings to gauge interest and support •    A mini-consultancy to assist audience development or commercial opportunities This is not an exhaustive list. We welcome different – and innovative – ideas and proposals. We expect to make a maximum of four awards. Who can apply •    The funding scheme is open to properly constituted organisations (not individuals). •    The film festival must take place in areas prioritised by Regional Screen Scotland, namely areas of cinema under-provision within Scotland How to apply There is no application form. Please include the following information in no more than four pages of A4: •    About your organisation: key contacts, legal status, aims, brief history •    Why you are interested in developing a film festival •    What you would like to use the funding for •    What outcomes you hope to achieve •    What you hope the wider benefits and impact may be for your community •    An outline budget (showing a minimum of 10% cash or inkind contribution from your own or other sources) •    Contact details for a referee You should also complete the separate Equalities Monitoring Form. Before submitting an application, you’re strongly encouraged to discuss your proposal with a member of the Regional Screen Scotland team, so please email either 
Harriet Warman harriet@regionalscreenscotland.org or 
Robert Livingston robert@regionalscreenscotland.org to arrange a phone conversation. They can help with making links, and suggesting possible models, mentors

Local Film Festival Fund Evaluation

November 2, 2017
Regional Screen Scotland presents an independent evaluation of its Film Festival Fund of recent years. In 2013 Regional Screen Scotland was successful in accessing three-year funding to set up the Local Film Festival Fund (LFFF). This has been operational since the 1st of April 2014 and runs till the 31st of March 2017. RSS commissioned Social Value Lab to undertake an evaluation of the Fund and to describe the impact of the Fund on the supported organisations and communities they are operating in. The LFFF’s aims were to: ▪ design and manage a Development Programme for five festivals; ▪ manage an Open Access Fund dispersing £20k grant funding annually with applications for a maximum of £3k. The LFFF has been funded by Creative Scotland (£262,500), with match funding by Film Hub Scotland (£48,000). The main objectives of the Fund have been audience development, increased programme diversity and an improved cinema infrastructure. The Development Programme supported five festivals with three-year grants of up to £37,500. These Festivals were: Screenplay (Shetland) Dunoon Film Festival Hebrides International Film Festival Cromarty Film Festival South West Picture Show The Open Access Fund awarded 22 grants of up to £3,000 to be spent in one year to 16 separate festivals. Social Value Lab has been commissioned to evaluate whether the Fund has achieved its stated objectives. The main objectives of the evaluation were: ▪ To evidence the impact of the fund on audience development, programme diversity and cinema infrastructure development; and ▪ To suggest further improvements for future funding programmes. You can read the findings of the evaluation in this report.

‘Four of my Favourites at LFF’: Harriet Warman, RSS Partnerships Co-ordintor

October 18, 2017
Last week I attended the 61st BFI London Film Festival, keen to discover some exciting films that usually don’t see distribution outside of the festival circuit, alongside some of the most anticipated titles to be released in the next year. Here I’ll highlight what really stood out for me.  Something here may interest you for your cinema. The latest film from I Am Love and A Bigger Splash director Luca Guadagnino is Call Me By Your Name, an adaptation of André Aciman’s novel of the same title, written by veteran writer/director James Ivory. It tells the story of 17 year old American-Italian Elio (Timothée Chalamet), and how he and 24 year old student Oliver (Armie Hammer) fall in love over the summer of 1983 staying at Elio’s parent’s palazzo in northern Italy. Oliver is there to assist Elio’s father (Michael Stuhlbarg), an American professor of Greco-Roman culture, and though he at first seems not to be interested in Elio, their connection becomes obviously passionate. Like I Am Love, the film is an utterly beautiful evocation of lingering love, of listless summers under blue skies and the pleasures of food, music, culture and nature. With his multi-lingual performance, Chalamet is precocious but endearing, confident and vulnerable at once, as he comes to terms with his first love affair. The charisma of both leads, and the tenderness of Ivory’s screenplay make the film an incredibly intoxicating and moving experience, one that stays with you. I find myself wanting to see it again and possibly, again. Jeune Femme screened in LFF’s first feature competition and is the debut of Writer-Director Léonor Serraille – the story of seemingly hopeless Paula (the impressive Laetitia Dosch) as she struggles to find autonomy after breaking up with her long-term partner. Once a photographer’s muse, now homeless and carrying a cat around Paris, Paula appears to dismantle before our eyes, in the most simultaneously frustrating and sympathetic way. She is comically inept, but also defiant, and it’s these contradictions that make Jeune Femme such a pleasure to watch, much like the complicated central roles in Happy Go Lucky and Daphne. Ultimately, Paula reveals her deep humanity, her unashamed desire to make connections in this world, which is inspiring and hugely uplifting. With little familiarity with its source novel, I nevertheless went into On Chesil Beach expecting a ‘weepy’ and not much more. Instead, it’s a quietly absorbing drama about repressed emotions, societal expectations and the optimism of young love. Adapted by Ian McEwan from his own novel of the same name, and directed by theatre director Dominic Cooke, On Chesil Beach begins with the wedding night of Florence (Saoirse Ronan, Brooklyn) and Edward (Billy Howle, Dunkirk) and looks back at their early romance in an attempt to understand why their impending physical intimacy is making them so nervous. Cinematic in its imagery and scope, the film elevates its tender love story from the concerns of two young would-be-lovers to say something profound about the healing power of time,

Cinema and the High Street: Robert Livingston

October 12, 2017
This article was originally published in Tripod http://www.colinmcleanphotography.com/blog/ the quarterly online publication by photographer and heritage specialist Colin McLean and is reprinted with his permission. Cinema is flourishing.  That may seem an odd statement to make in this time of HDTVs, Netflix, and Amazon Prime, but there seems to be something special about seeing films as part of a social gathering, that never loses its appeal. UK-wide, annual attendances have not dropped below 150 million in the last 15 years.  In our Screen Machine mobile cinema, annual attendances remain at the same level as when the service was first launched in 1998, so the novelty has never worn off! Of course, historically it was a very different picture. UK cinema audiences peaked at an astonishing 1.4 billion in 1946, the highest attendance/population ratio ever recorded anywhere in the world, apparently. The Scottish Cinemas and Theatres Project’s database records the existence of over 1100 cinemas in Scotland since 1902. The vast majority of those have of course been demolished, or turned to other purposes (usually large pubs called, with sad irony, something like ‘The Picturehouse’). Things are gradually getting better.  Across the UK, some 144 cinemas are planned to open in the next five years, and only 17% of those will be in the kind of out-of-town locations favoured by the big multiplex chains in the 80s and 90s.  This pattern of growth can be seen, at a more modest level, in the Highlands and Islands, where, in the last 20 years, 10 different cinemas have been opened, re-opened, restored or enlarged, from Campbeltown to Lerwick, and by contrast only one cinema, in Fort William, has closed and not reopened (yet). Significant success stories of recent years have been about the restoration and reopening of three historic cinemas: the oldest surviving cinema in Scotland, the Hippodrome in Bo’ness, from 1912; the oldest continuously operating cinema in Scotland, the Campbeltown Picture House from 1913 (reopening this autumn), and the Birks Cinema in Aberfeldy, from 1939. What these cinemas have in common is their central, highly visible, location in the townscape, in small urban communities with significant issues of deprivation, and in all three cases the cinema restoration has become a project around which the community has rallied, and wider regeneration benefits have come into play. Other, similar, projects are in the pipeline.  In Edinburgh, the G1 Leisure Group have plans to reopen the sumptuous Art Deco Odeon in South Clerk Street, while in Portobello local residents are struggling to prevent the similarly styled George Cinema from being turned into flats.  And some historically significant cinemas still remain in fully commercial operation, from the lavishly comfortable, family-run Pavilion in Galashiels to the B-listed, seven-screen Perth Playhouse. But there is another aspect to the links between cinema and the built heritage.  As cinema-going changes, the scope increases for smaller ‘boutique’ cinemas to be inserted into town-centre buildings which formerly had very different uses.  An extreme example might be the six-screen Peckhamplex slotted into a
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