Starting points

The Salford Social Democratic Land and Building Society was the proprietor of Hyndman Hall, the Social-Democratic Federation’s home office. In 1930 at a unique gathering they consented to add to their Objects a promise to building or purchasing a scene “for the presentation of cinematograph films, plays, sensational and melodic exhibitions, especially those important to the Working Class, or may employ a structure for any such purposes…”

Out of this choice came the Manchester and Salford Workers’ Film Society, with the principal screening in November 1930.

The principle coordinator was Reg Cordwell who was to stay at the focal point of tasks for the remainder of his dynamic life.

In 1937 the name was abbreviated to the Manchester and Salford Film Society. In 2005 their document was held up with the Library. You can discover more subtleties of the document via looking through our online inventory utilizing the expression ‘film society’.

Ewan MacColl composed:

“This was the time of the development of Hollywood, the time of the principal worldwide stars, the age of the entertainers, the celluloid darlings and the intense folks. As the lines of jobless developed longer and more, so the huge ornate royal residences of Hollywood’s new fine art developed increasingly luxurious and the lines of high-kicking chorale young ladies increasingly alluring.

The Hollywood film of the late twenties and mid thirties was the staple eating regimen of the huge armed force of jobless and I would dare to propose that it gave the fundamental workmanship passage to the whole common laborers. It was positively one of the most significant aesthetic impacts throughout my life up until late 1929.

Workers Film Society ticket : Guest ticket for Futurist Cinema in Ducie Street, Strangeways, Manchester

Visitor ticket for Futurist Cinema in Ducie Street, Strangeways, Manchester

In the fall of that year the Deansgate film ran a period of Russian films. This was some time before the craftsmanship film idea initially showed up and it more likely than not been a money related failure for I went there for half a month and sitting in magnificent segregation as the incredible stories of Pudovkin, Eisenstein and Dovzhenko unrolled on the screen. It was, I believe, Eisenstein’s October and Pudovkin’s End of St Petersburg which began me out and about I was to go for the following twenty years.

When, in 1930, the Salford Workers’ Film Society was framed, I was among its establishment individuals. It was, I accept, on the Labor Party’s rundown of banished (socialist) associations and each Sunday morning, in a little insect pit on Oldfield Road, it introduced the cream of the world’s best films.

There, in the space of the following not many months, I saw Storm over Asia, The New Babylon, Pabst’s Kamaradschaft, Dziga Vertov’s Man with the Movie Camera, Aaron Room’s Bed and Sofa and The Ghost that Never Returns, Fritz Lang’s Metropolis and Dovzhenko’s Earth.

The chance of seeing films of such stature made up for a portion of the hardship experienced by a not well instructed juvenile who confronted the dreary possibility of attempting to win a living in the bone-dry desert of 1930.”

Recorded material about the Manchester and Salford Film Society in the library assortment

Manchester and Salford Film Society (ORG/MSFILM)

Yearly reports and constitution, Minutes, Correspondence, Accounts and money related papers, Programs, Membership structures and tickets, Papers identifying with commemorations, authentications and trinkets, Other papers, Minutes, correspondence, records and projects for Manchester and Salford Film Society and Manchester Film Institute – Shelfmark: AG M&S Film Boxes 1-12

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