The five year plan for the period 1999 - 2003 recently published by the Film Institute of Ireland is an impressive-looking, handsome document, with a series of mission statements and objectives for the years ahead. It reflects an increasing self-confidence at the FII, which appears to have consolidated its position after the very fraught and financially difficult period following the opening of the Irish Film Centre on Eustace Street in Dublin in the early 1990s.
In the eyes of the general public, the running of the IFC is the most important and visible activity of the FII. Unlike film institutes in some other countries, the FII has no involvement in production support, vocational training or regional film distribution. This is not necessarily a bad thing: the proliferation of Irish film-related bodies in the last few years means that virtually every aspect of film has its own relevant organisation (how well those organisations function is another question).
In its plan, the FII identifies its main areas of activity. Some of these are rather nebulous: "working for the development of Irish film and of the audience for film; being an informed and effective advocate of the art and culture of film". Some are currently more aspirational than real: "facilitating the extension of such film experience to every region in Ireland". Others form the current core activities centred on the IFC: developing the Irish Film Archive; programming a broad range of films for exhibition; promoting best film educational practice in curricula at all levels.
As the plan points out, the IFC's two cinemas screen approximately four times as many films each year as their comparable commercial competitors. Under manager/programmer Pete Walsh, the cinemas' programme has brought a diverse range of international cinema to Dublin in recent years, and appears to have been successful in developing an audience. It's good, though, to see the FII publicly acknowledging that the original design of the IFC's two screens was far from ideal, and that changes are badly needed.
"The cinemas were not purpose-built and suffer some drawbacks as a result," the plan points out, identifying some of the difficulties as: "Poor sound-proofing, difficulties with heating, acoustics and air-conditioning, side entrance and long rows with no centre aisle in Cinema One."
Certainly, this writer always found it ironic that the IFC's architects, O'Donnell and Tuomey, were garlanded with awards for a building which so obviously failed in its prime objective, the screening of films in ideal conditions. The plan pinpoints the single most annoying aspect of the two cinemas, the absurd design of the screens themselves. "Replacement of screens and screen surrounds in both cinemas, so that film can be exhibited on appropriately large screens in the closest approximation to `black box' conditions possible" is identified as a priority, "although expensive to rectify".
Despite its claims to be a national body, there is a clear Dublin-centredness to the FII's current exhibition activities. With the Arts Council currently awaiting a report on the feasibility of developing non-mainstream film exhibition outside the capital city, the plan reveals an understandable reluctance on the part of the FII to become involved in regional film distribution unless certain financial supports are in place. "Film distribution is a complex business. It should only be undertaken by the Film Institute of Ireland if a designated fund is put in place to establish its feasibility and subsequent implementation."
It's not surprising that, having only recently achieved a level of financial stability, the FII should be wary of dipping its toes into the potentially dangerous waters of regional distribution: those with long memories will remember that ill-advised expansion outside Dublin helped sink the old Irish Film Theatre two decades ago. But, if and when the Arts Council does move towards regional investment, it would be a missed opportunity if the FII, with its experience, contacts and resources, is not centrally involved.
