Centenary Restoration Project Evaluation Report

SEPTEMBER 2012

1 2

The Phoenix Cinema was constructed at East Finchley in 1910 as part of the first wave of cinema building in Britain. In 1938, both its exterior and interior were dramatically remodelled in order to compete with the new super-cinemas of the industry’s second wave of expansion. Today, over one hundred years after first opening, the building is still operating as an independent cinema, despite competition from the complexes of the third, most recent phase of cinema development. However, in 1985, as a consequence of a successful local campaign to save it from closure, The Phoenix was reconstituted as a charitable trust operating under the direction of a board of voluntary trustees with an enthusiasm for cinema and film. At the same moment, a new policy direction was decided on that moved The Phoenix from the ‘neighbourhood cinema’ role of its earlier years towards a ‘community cinema’ mode of operating, attempting to address, involve and respond to the various local communities in its catchment area. However, over the years preceding the Centenary Restoration Project this happened in a rather piecemeal and intermittent fashion - although it ranged through bringing film-makers into the cinema to talk about their work, providing special short seasons of films serving the concerns of particular local groups, staging live music and promoting the short film. Further, there were a number of more specifically educational activities involving schools and children.

On approaching our centenary two things became apparent to the Board and senior staff at the cinema. First, it was obvious the fabric of the building was in need of repair, restoration and reinvigoration. Also, that the introduction of a café-bar (which would recreate the refreshment room of 1910) would provide a communal space in which our patrons might socialise. Second, it was felt that our community responsibilities could become more coordinated, systematic and wide ranging. The Centenary Restoration Project was designed to carry out these tasks.

With money raised both from the Heritage Lottery Fund and other funding bodies and from Friends and supporters of the cinema, the building was beautifully restored in the summer of 2010. Then followed the range of community projects evaluated in this report. Paul Homer, The Phoenix’s Chief Executive, successfully guided the cinema through the funding application phase and then proceeded to painstakingly supervise the actual refurbishment. Eleanor Sier, as our Heritage Officer, worked inventively and diligently to bring the variety of projects detailed below to fruition.

ForewordWriting on behalf of the Board, we believe we now have an elegant building that has become, once more, a significant feature on East Finchley’s High Road. Also, we feel we have raised the cinema’s profile as an important heritage site. Further, we have begun to reach out to newer, different audiences from our established public. From a personal point of view and as a film historian, I have been delighted by the size, variety and enthusiasm of the people to whom I have given talks - both the special Sunday afternoon audiences and groups of students. The last three years at The Phoenix have been a vivid and exciting time.

As to the future, we are determined to build on what we have latterly achieved. We know we have accessed fresh audiences. We have also established a range of new community contacts to keep alive. And we are planning to maintain our more educational programmes. All in all, The Phoenix has worked hard to transform the conventional relationship between a cinema and its public and to take very seriously our ‘community cinema’ responsibility.

Gerry Turvey Chair of Phoenix Cinema Trust’s

Education Committee

Paul Homer

Gerry Turvey

Eleanor Sier

3 4

Contents Executive SummaryThe Centenary Restoration Project was developed by the charitable trust that runs The Phoenix, a 1910 independent cinema based in the London Borough of Barnet, and was funded by the Heritage Lottery Fund. It consisted of a wide range of activities, from touring exhibitions and free film screenings, to education projects and behind the scenes tours, aiming at 1) restoring The Phoenix’s building to its Art Deco-style, 2) encouraging new and current audiences, including young people, people with disabilities and ethnic minorities, to get involved with The Phoenix, and 3) providing opportunities for people to actively learn about cinema and film history in general.

The project also sought to ensure the long term sustainability of The Phoenix by attracting new customers, increasing audience diversity, and providing additional opportunities to collaborate with other community-based organisations.

GLE Consulting conducted this evaluation to assess whether the project met its objectives, what difference it made for the people and the organisations involved, and what lessons can be learnt for similar future projects. The methodology used for this evaluation relied on data and information gathered before, during and after the project by both the project staff and the external evaluator. Semi-structured interviews and group discussions complemented the information collected through videos, pictures and evaluation forms.

The evaluation shows that the Centenary Restoration Project managed to successfully engage the public with The Phoenix’s history as well as with film and cinema history in general. Activities that aimed to increase public understanding of the changes that the cinema went through over the years, such as architectural design and fashion, were particularly well received by the audience. These included the touring exhibition, education projects with schools and the behind the scenes tours. The two series of free screenings, entitled ‘A Century of Cinema’ and ‘From the Archives,’ were also successful in engaging both existing and new audiences with film and cinema history and heritage.

Overall, the activities have managed to engage the public with The Phoenix’s history and to increase understanding of the place that the cinema occupies in the wider British history. This has, in turn, led participants to develop a sense of pride in belonging to the area in which The Phoenix is based.

The make-up of the audiences has also changed as a result of the Centenary Restoration Project’s activities. Through the delivery of the specialised screenings project staff became more aware of new audience and their needs. These must, therefore, be reflected in The Phoenix’s offer long-term in order to retain such audiences and ensure the cinema’s sustainability.

Foreword

Contents

Executive Summary

1. Introduction

2. Objectives and methodology for evaluation

3. The Centenary Restoration Project: activities and results

4. Stakeholders’ perception

5. Lessons learnt and recommendations for future projects

6. Conclusions

1 - 2

3

4

5 - 6

7 - 8

9 - 26

27 - 28

29 - 30

31

5 6

Built in 1910 as part of the first wave of national cinema construction, The Phoenix Cinema is the oldest, purpose-built, continuously-operating cinema in London. This is because the cinema has remained “an independent enterprise, largely avoiding involvements with the big cinema chains that have come and gone over the years.” 1

“That independence has allowed it to cope with changing entertainment-business environments. So, from the second decade of the twentieth century into the twenty-first century, The Phoenix has adapted and survived, or, rather, it has had to adapt in order to survive.” 2

In 1999 English Heritage formally acknowledged the heritage value of The Phoenix by listing it as a Grade II building and describing it as “an extremely rare example of an early purpose-built cinema which has been in continuous operation…The combination of two phases of decoration, both in themselves of high quality, makes this unique example of both architectural and historical interest in the evolution of cinema design.” 3

The Phoenix has been run since 1985 by a charitable trust committed to preserving the building, promoting film culture and encouraging the local community to get involved with the cinema’s heritage. Over the last decade, the Trust has raised funds to restore the cinema, thus securing the resources necessary to repair The Phoenix’s foyer, introduce new facilities for people with disabilities and improve seating.

In addition to its extraordinary architectural and historical value, the cinema also has an established track record of engaging with its community and the general public. Foreign language films, film clubs, film-making workshops and regular screenings for parent and baby groups are only some of the activities that are being delivered at The Phoenix and that make it an exceptional cultural hub for all of Barnet’s residents.

Determined to reverse the degradation of the auditorium and the external façade and ensure the long-term sustainability of the cinema, the Trust undertook the Centenary Restoration Project. The project, which ran from September 2009 to August 2012, was managed by Paul Homer, Chief Executive of Phoenix Cinema Trust, and guided by the Board of Trustees and the cinema’s Heritage Education Committee. 4 It was funded by the Heritage Lottery Fund, which provided 59% of the total funding, and by a number of foundations, including John Lyon’s Charity, The Foyle Foundation, Edward Harvist Charity, The Leri Trust, Chapman Charitable Trust, Heritage of London Trust, The Milly Apthorp Charitable Trust, The Rank Foundation, The John and Ruth Howard Charitable Trust, The Ernest Cook Trust, Steven and Joan Fogel Charitable Trust, The Manifold Trust, Mosse Charitable Settlement, Finchley Arts Centre Trust, and Yvette & Hermione Jacobson Charitable Trust as well as by many generous individuals.

The Centenary Restoration Project aimed to 1) restore, conserve and enhance The Phoenix by upgrading its facilities and bringing the building back to the Art Deco-style, 2) encourage new and current audiences, including people with disabilities and ethnic minorities, to get involved with The Phoenix, and 3) provide opportunities for people to actively learn about cinema and film history in general. The restoration work was crucial in providing a new social space for the community and the general public to gather and socialise, exchange their views on the cinema’s screenings and their experiences of The Phoenix, communicate, debate, and share memories. This, in turn, promoted a sense of pride and ownership of The Phoenix’s heritage within the community. The conservation work and the interactive, learning experiences that have been planned and delivered by the Trust therefore represented a clear investment in the future sustainability of the cinema as they raised support for The Phoenix, increased and diversified the audience, and also created new income generation opportunities.

1. Introduction

1. Gerry Turvey, The Phoenix Cinema: A Century of Film in East Finchley (London: Phoenix Cinema Trust Ltd, 2010), 9. 2. Ibidem. 3. English Heritage, Exploring the Past. 4. The Board of Trustees provided guidance on the physical restoration of the cinema, while the Heritage Education Committee,

composed of trustees, staff and volunteers, provided guidance on the three-year heritage education project.

The cinema c. 1912.

7 8

2. Objectives and methodology for evaluationThis evaluation aims to assess whether the project was successful in 1) attracting target and new audiences, 2) actively engaging the public with The Phoenix’s heritage, film and cinema history in general, and 3) raising public awareness of and pride in the local area’s cinema and film heritage. It also seeks to establish whether stakeholders have reaped any other benefits, for example, in terms of creating new partnership opportunities or building participant organisations’ capacity to deliver similar projects in the future. The evaluation’s main purpose is therefore to assess the difference that the Centenary Restoration Project has made for the people and the organisations that were involved in it and might benefit from it in the longer term.

In order to assess the real impact of the project on both the participants and the organisations involved, the evaluation incorporated data and information collected before, during and after the project had been delivered. Particular relevance has been given to qualitative information gathered through evaluation forms, interviews and group discussions with stakeholders, including Heritage Education Committee members, project staff, front-of-house staff, volunteers, customers and the heritage activities’ participants. These techniques have ensured that individuals’ feedback provided the most relevant and interesting source of information, and were effectively captured and retained.

An independent external evaluator, GLE Consulting, carried out this evaluation. The methodology used to undertake this piece of work is described below.

In July 2011 GLE held an inception meeting with the Heritage Officer to learn about the project and the requirements that the Heritage Lottery Fund places on evaluations. During the meeting, the Heritage Officer clarified the evaluation’s objectives and provided information on the methods that were already being used to gather information. An evaluation work plan was then agreed upon.

GLE undertook a review of the history of The Phoenix and analysed documents providing a detailed account of The Phoenix’s past and current mission statement and aims. This enabled the evaluator to develop a solid understanding of the context in which the cinema operates. The minutes of the bi-monthly Board meetings and tangible outputs, such as the history book and the exhibitions, were also analysed along with the data already collected by the project.

A combination of focus groups and semi-structured interviews was used to obtain participant and staff feedback. In July 2011 the cinema’s users were invited to join a group discussion on the ‘A Century of Cinema’ screenings that took place over the previous ten months. Another focus group, this time in the style of a book club for Friends of The Phoenix and other customers who had purchased the book The Phoenix Cinema: A Century of Film in East Finchley, was also held in July 2011. A third focus group was organised in June 2012 to collect the views of the Heritage Education Committee members, project staff, front-of-house staff and volunteers.

The information obtained through the focus groups was complemented by that gathered through semi-structured phone interviews with individuals and partner organisations who had been involved in the project, such as those who helped to arrange specialist screenings. A sample of participants was interviewed in November 2011 while key staff members were interviewed between February and April 2012.

Evaluation materials collected on an on-going basis through each of the activities were analysed in July and August 2012. These underpin the present evaluation report.

IMAGE ?

Audience at a screening of Pressure. © Maurita van Droogenbroeck.

9 10

3. The Centenary Restoration Project: activities and results The Centenary Restoration Project comprised of a number of activities designed to maximise the impact of the capital investment for the local community. In order to review the overall success of the project, we now consider each of the activities, the results they achieved and the perceptions of those who participated in them.

I. Restoration and conservation works In the last decade, the Trust managed to raise funds to repair The Phoenix’s foyer, introduce facilities for people with disabilities and improve seating. However, the degradation of the cinema’s auditorium and façade required thorough restoration work. The Centenary Restoration Project was fundamental in providing the resources necessary to undertake such work.

Interviews with project staff and volunteers confirmed that the restoration of the building had an “enormous impact” 5 in terms of attracting audiences: “People come along to the tours because they’ve heard and seen the refurbishment taking place…” 6 Front-of-house staff noticed that restoring the building to its 1938-look made The Phoenix “a much more popular place to visit” 7 and that people came from a long way to admire the restoration work that was done.

The conservation work was therefore instrumental in achieving the other objectives of the Centenary Restoration Project. It stimulated a sense of pride in the local community and attracted audiences from outside the London Borough of Barnet, thus having an “immense” 8 marketing impact.

II. ‘A Century of Cinema’ screeningsThis was a series of free screenings shown over a ten-month period, from September 2010 to June 2011, and included films that marked the history of cinema, such as Titanic (1912), King Kong (1933), Casablanca (1942), The Wild One (1953), The American Friend (1977) and E.T.: The Extra Terrestrial (1982).

‘A Century of Cinema’ screenings offered the public the opportunity to watch a film from each of the decades that The Phoenix has been in operation (1910-2010). Each film was accompanied by an introduction and a question and answer (Q&A) session was also held in some cases. To recreate the atmosphere of the period, costumed interpreters were employed, newsreels were shown and cine-variety performances provided as appropriate.

The screenings were advertised within the cinema and through the mailing list. More than 83% of attendees stated that they had already visited The Phoenix, with over 50% attending once a month or more. However, the majority of feedback forms were completed by the cinema’s regular customers who had a strong sense of ownership of The Phoenix and a particular interest in the Centenary Restoration Project’s outcomes.

Engaging current and new audiences

Have you been to The Phoenix before?

Are you a regular visitor?

Yes No Weekly Monthly Quarterly Once a

yearLess

83.33% 16.67% 10.99% 40.29% 30.04% 14.29% 4.40%

Significant efforts were also made to advertise the screenings outside the cinema by disseminating posters to libraries, museums, community centres and schools, and uploading content on blogs and listing websites.

This was reflected in the huge number of customers (1,864 in total) 9 coming to the screenings. Staff commented on how they were “shocked by the audience numbers,” 10 especially given that the screenings were on Sunday afternoon, a typically difficult time to fill the screens. However, they also felt some frustration at the seats which were not filled on the day as the events were free and there were typically waiting lists for each event.

5. Focus group, June 29, 2012. 6. Ibidem. 7. Ibidem. 8. Interview with project staff, March 3, 2012.

9. Data collected during the screenings and provided by project staff on August 17, 2012.10. Focus group, July 6, 2011.

IMAGE?

The cinema during the restoration, 2010. © Jodi Warren.

11 12

Learning about the cinema’s history and regional heritage

Has your knowledge and understanding of The Phoenix’s

history increased today?

Has the screening increased your awareness of regional

heritage?

Are you now more interested in the region’s

cultural heritage?

Yes No Yes No Yes No

81.58% 18.42% 78.03% 21.97% 81.07% 18.93%

Audience members stated that the additional touches, such as costumed interpreters dressed in period clothes and the use of advertisements from each decade helped them to feel like they were “transported back in time.” 14 This added to the excitement and interaction with the film and cinema. For example, some customers noted that the piano accompaniment to the silent films increased their enjoyment of the films and made it a “homely, shared experience, bringing the community together.” 15

The different screenings also influenced the makeup of the audience. For example, the films King Kong and E.T. The Extra Terrestrial were widely attended by children and families while the screening of Spirited Away registered an increase in the number of ethnic minorities attending.

Reaching new audiences

Ethnicity

WhiteMixed ethnic group

Asian (Bangladeshi,

Pakistani, other)

Black (Caribbean,

African, other)

Asian (Chinese)

Other ethnic group

Wish not to say

86.45% 2.46% 2.46% 2.22% - 2.46% 3.94%

Overall the screenings were a success, with customers returning for repeat visits in some cases. “Fantastic event, imaginatively put together”16 sums up many experiences, with 100% of those completing evaluation forms stating that they would come back. The screenings also made all participants feel more proud about their local area. “It makes the High Street unique,”17 said one of the participants. As the table below shows, 54% of those completing evaluation forms stated that they felt proud of being part of their community, 50% felt there were more activities being carried out in the local community, and 41% felt their community was a better place.

Making a difference for the local community

Since your involvement in the screenings, do you feel any of the following?

Increased pride in being part of your community

Your community is a better place

People are more cooperative

There are more local activities

None

54.43% 41.38% 24.88% 50.25% 13.55%

Number of attendees per screening

Some stakeholders felt that the ‘A Century of Cinema’ screenings, of all the activities, best engaged audiences with The Phoenix’s history and regional cultural heritage. The qualitative research for the evaluation confirmed the data collected from the evaluation forms. Both the information provided on the cinema and additional discussion opportunities, such as Q&A sessions with directors, were found to be “insightful,” 11 “informative” and “absorbing” 12 by audiences and described as a “chance to learn about film heritage.”13 Users expressed how the additional information sessions also increased their understanding of the context in which the films were originally screened. Audiences expressed how they learned something new about the heritage of the area and its future cinematic potential. Particularly, 81% of those who attended felt that their knowledge of The Phoenix had increased since attending the screening and 78% felt more aware of regional heritage as a result.

Title of screening No. of attendees

1910s: A selection of shorts 134

1920s: The General 165

1930s: King Kong 217

1940s: Casablanca 222

1950s: The Wild One 198

1960s: Saturday Night & Sunday Morning 221

1970s: The American Friend 162

1980s: E.T. 161

1990s: Brassed Off 192

2000s: Spirited Away 192

Total 1,864

Live interpreters mix with the audience at the 1940s screening. © Maurita van Droogenbroeck.

11. Focus group, July 6, 2011. 12. Users’ feedbacks collected by project staff right after the

screenings in 2010/2011. 13. Ibidem.

14. Focus group, July 6, 2011. 15. Users’ feedbacks collected by project staff right after the

screenings in 2010/2011. 16. Ibidem. 17. Ibidem.

13 14

Day of tourNo. of

attendees

19/09/2010 150

03/10/2010 32

31/10/2010 19

07/11/2010 44

28/11/2010 13

19/12/2010 10

23/01/2011 45

27/03/2011 46

22/05/2011 19

17/07/2011 31

18/09/2011 63

27/11/2011 23

15/01/2012 28

19/02/2012 30

18/03/2012 40

22/04/2012 18

13/05/2012 18

10/06/2012 22

Total 651

III. Behind the scenes toursThese free tours 18 consisted of short guided visits around the cinema and were used to increase awareness of the cinema’s heritage. They were led by trained volunteers and traced the history of The Phoenix, focusing on aspects of interior design, social history and technical advances in each section of the tour, thus placing it in the wider history of film.

As the table opposite illustrates, the tours were well attended as they were seen as a good opportunity to find out more about the heritage of the cinema. On average 217 people attended the tours each year, with 3 – 6 tours per day 19 and 10 people per tour maximum.

Number of attendees per day of tours

Engagement with groups such as the 20th Century Society enabled The Phoenix to gain interest from residents all across London, and some from further afar. Even though this group tended to be slightly older than those attending other events,20 the tours managed to attract audiences from outside the local area, with only 63% having visited the cinema before and 30% visiting the cinema once a month or more.

Those who attended were engaged, interested and used every opportunity to ask questions. In particular, 98% of those attending enjoyed the tour with 89% stating that they would think differently about cinema and The Phoenix. Less than half were familiar with cinema heritage before they went on the tour and 95% felt they had an increased knowledge of the region’s heritage as a result of participating in the activity.

The projection room section of the tour was overwhelmingly the most popular part, offering visitors the opportunity to consider not only the films that are shown at The Phoenix, but the lengths that the cinema has gone to preserve the traditional methods of film projection, whilst also embracing newer technology to help extend the experiences on offer to customers.

Overall, feedback was positive, with people enjoying the combination of film history with the wider social and community context, not only the local area’s but also nationally. Participants described the tours as “enjoyable,” 21 “very useful,” 22 “[e]xcellent and informative with lots of interesting bits of historical facts about this most important part of the local community.” 23

18. Six tours per year were held.

19. The number of tours held per day depended on the demand. 20. About 43% of those attending were over the age of 60.21. Users’ feedbacks collected by project staff right after tours in 2011/2012. 22. Ibidem.23. Ibidem.

A volunteer tour guide leading a behind the scenes tour of the cinema. © Maurita van Droogenbroeck.

15 16

IV. The Phoenix Cinema: A Century of Film in East Finchley V. Centenary Storybook

Written by Gerry Turvey, the book The Phoenix Cinema: A Century of Film in East Finchley (over 90,000 words) sought to address the lack of written resources available to the public and academia about the heritage of The Phoenix within the wider context of British cinema. It offers an account of how the cinema coped with competition from other cinemas and with changing public taste and interests. By describing the evolution of The Phoenix through a century and placing it within the wider context of film and the British cinema industry, the book allows the reader to gain a more in depth understanding of the wider changes in the local area and cinema history.

The research that underpinned the book fed into other activities carried out during the project, enabling staff and volunteers to gain a deeper understanding of cinema history. Project staff observed that the book was “...excellent... and the amount of research he [the author] did [wa]s very very impressive.” 24 The book was even described as “the bible of The Phoenix, which was sorely missing,” 25 a text of great value and a “source book for other things.” 26

As there has not been a wider review of the book amongst audiences, the majority of feedback came from members of staff and volunteers who articulated their views during interviews and focus groups. They felt that the book was “very well researched” 27 and “full of anecdotes.” 28 Some defined the book as “academic in the best sense of being evidence-based” and felt it was “very readable” as well as “written in very plain and accessible language.”

One of the volunteers stated: “I knew the kind of outline of the story [of The Phoenix] but I didn’t really know the detail [...] [The book] just fills out the picture so richly and I think that’s so important.” 29

The structure of the book, with headings and sub-headings, was found very “useful” 30 to help the reader to find information. However, the quality of images was rather “poor.” 31 Those who provided their views stated that the book lacked “strong visuals” of the building and of film scenes. Others noted that:

“If there’s an absence, it’s an absence of the voice of the audience, and in a way we’ve got that with the recollections project. If we could have a second edition and feed some of that in, that would be just perfect.” 32

Overall, the book was perceived as an “achievement,” 33 something that The Phoenix was missing and that informed other activities carried out under the project. 250 copies have been printed out: 86 have been sold and 135 have been disseminated to schools, museums, libraries, archives, reviewers and volunteers.

This was an oral history project in the form of a collection of short films 34 featuring local people who explained what The Phoenix meant to them.

From September 2010 to August 2012 forty-two of these films were shown on screen as part of the trailers. Those who provided feedback35 on the films commented on how moving some of the stories were, bringing the personal touch to a century of this local cinema’s history. Particularly, 54% of them stated that the films were “interesting” and 39% felt that they were “enjoyable.” For many users, the Centenary Storybook was “nostalgic,” “engaging,” and “entertaining.” Some defined the films as “unique,” “a great idea [that] conveys the affection that locals have for The Phoenix” and a “fantastic way of sharing the social history.” 36

Some people found it a reminder of the social nature of attending the cinema, that it’s not a solitary activity, but one which can be shared. For one it “emphasises The Phoenix as a community cinema.” 37

By the nature of this type of project, those who responded felt that some of the stories had significantly more impact than others. For example, the stories of Mary’s first date, Nicolas skiving off school and Joel bringing his father for his last visit held the most impact for people.

The Centenary Storybook was also uploaded and showcased through YouTube, reaching out to a wider and younger audience. As of 24/08/2012 the films were viewed a total of 9,663 times. Users who commented on the films found them “lovely interview[s]” 38 that provided “[i]nteresting acting and technical information.” 39

Overall, over half of those watching the videos at The Phoenix found them interesting, 50% stating they made them feel nostalgic by providing “engaging stories with a local connection.” 40 Some felt that it was a refreshing change from hearing the stories of the patrons: it was the “personal touch that brings people closer to the cinema.” 41

21. Users’ feedbacks collected by project staff right after tours in 2011/2012.

22. Ibidem.23. Ibidem.24. Focus group, June 29, 2012.

25. Ibidem.26. Ibidem.27. Ibidem.28. Ibidem.

29. Ibidem. 30. Ibidem.31. Ibidem. 32. Ibidem. 33. Ibidem. 34. The Centenary Storybook can be accessed at http://www.

youtube.com/playlist?list=PL59F5F11F816CF758. 35. Participants’ feedback was gathered through a survey mon-

key and a questionnaire that was submitted to users at the cinema.

36. Ibidem.37. Ibidem.38. Comment on YouTube. 39. Ibidem. 40. Focus group, June 29, 2012.41. Ibidem.

17 18

VI. School and outreach activities

This included a number of activities aimed at engaging with young people in schools and developing their understanding of and interest in The Phoenix and general film history. From 2010 to 2012, project staff engaged with fifteen 42 education institutions, including Barnet College, St. James’ Catholic High School, Hendon School, Finchley Catholic High School, and Oak Lodge Special School, with a total of 316 students involved in the activities. About 68% of these were between 11 and 16 years of age and 20% were 17-18 years old. Moreover, 20% were of black origin and 23% were disabled.

Project staff worked with Rithmik, a Barnet Council youth music project, Hendon School and Henrietta Barnett School to compose soundtracks to silent films made by Muswell Hill film pioneer Robert Paul to be shown at an archive screening. 43 They also collaborated with Oak Lodge School, a secondary special school in East Finchley, working with ten GCSE Art pupils on a sculpture project based on the Art Deco plaster panels in the cinema auditorium. A project with Blanche Nevile School for Deaf Children in Muswell Hill also supported eight GCSE Art pupils on a drawing project resulting in an exhibition of the work in The Phoenix’s gallery space. Similarly, Barnet College art students and those from other secondary schools used The Phoenix as inspiration for a unit of work in subjects such as Design and Technology, English, History, Film Studies and Photography.

Phoenix staff found that the follow up visits to schools provided an opportunity to see what the students were making and the creativity being put into the short film pieces. They found the teachers supportive, although the links with schools initially got off to a slow start, with staff finding the linkages difficult to establish. With some additional effort on behalf of The Phoenix, they managed to develop a programme which linked to the curriculum needs of each educational institution, whilst remaining interesting for the pupils.

The students interviewed stated that The Phoenix was “really interesting” 44 because “there’s so much history.” 45 “You got into the theatre it’s got all the Art Deco panels and the roof. And you can go up to the projection room and see how it all works.”46 A secondary school teacher commented that

“[t]he students ... learnt about how the cinema changed over time, from the guided tours and from seeing the projection room and auditorium for themselves. [...] They enjoyed the visit [to The Phoenix] and thus showed an appreciation of a historic building.” 47

The teacher noted that the students were very excited about the visit as they “all talked about the trip on their return to school and for several lessons afterwards.” 48

42. Eight projects with educational institutions have been carried out in the first year and six in the second. 43. These can be found at: http://www.youtube.com/playlist?list=PL839D47762575E3F8, http://www.youtube.com/playlist?list=PL3

1E865326B873329, http://www.youtube.com/watch?v=lpbBozvvCFI&feature=share&list=PL7D7814BE49BAB2D8 44. Data collected by project staff during the activities.45. Ibidem46. Ibidem

47. Feedback collected by project staff right after the activities.48. Ibidem Caption Neeed

Pupils from Finchley Catholic High School photograph the projection room.

A Hendon School pupil poses with his work on display at The Phoenix.

Rithmik youth music project members pose at The Phoenix following a screening of their work.© Maurita van Droogenbroeck.

Art Deco lantern workshop with Oak Lodge School.

St. James’ Catholic High School pupils learn oral history techniques.

19 20

This consisted of eighteen free screenings 49 of old or archive films that describe and inform the history of cinema and changes in society and the importance of heritage. The screenings, which aimed to increase current and new audiences’ understanding of cinema history and how this has changed, usually had an introduction and often a Q&A after. Others had additional elements depending on the audience. For example, for the screening of Singin’ in the Rain for adults with learning disabilities there were dancers who taught the public how to dance in their seats.

‘From the Archives’ screenings were incredibly popular among the public as their themes were tailored to special interests of the various local communities. This is reflected in the huge number of customers (2,666 in total and 148 per screening on average) 50 who attended the events. Most importantly, of those who provided their feedback, 62% had never been at The Phoenix before and 13% went to the cinema less than once a year.

Project and front-of house staff felt that these events were “incredibly successful in getting new audiences in.” 51 The data collected through evaluation forms confirms that ‘From the Archives’ screenings were among the activities that best attracted new audiences with 22% of those attending and completing evaluation forms stating they were of black (Caribbean, African) origin. Project staff who participated in the focus group confirmed that it was great to see a more diverse audience, with people of black or mixed origin. 52 Also, 54% of visitors who attended the events and provided their feedback were between 26-59 years of age, against only 37% being 60 years or older and 11% of them stated they were disabled. This represented a huge success in terms of diversifying the cinema’s current audiences. 53

Engaging new audiences

Ethnicity

White Mixed ethnic group

Black (Caribbean,

African, other)

Asian (Bangladeshi,

Pakistani, other)

Asian (Chinese)

Any other ethnic group

Wish not to say

53% 3% 22% 11% 1% 6% 5%

In terms of getting the public interested in cinema history and heritage, 80% of those who provided feedback stated that they were more interested in the region’s cultural heritage, 70% felt an increased pride in being part of the community and 74% even intended to learn more about the topic by attending other similar events. 54

For the organisations working with the cinema, the process of organising and advertising the screenings was well managed, with responsibility mainly carried by the cinema. For Barnet Mencap, The Phoenix staff arranged a focus group at The Phoenix with a number of short clips to show to service users, enabling them to choose the film they were going to see. At the end of the official screening, all the adults with learning disabilities still left in the audience were asked to put a token in either a box with a sad face or a box with a happy face and all 52 people put their token in the box with the happy face.

The experience of seeing the films at the cinema, in a historic setting, was greatly valued by all of those who attended. Those running the specialist screenings commented on the enhanced experience of watching films where they were intended to be seen, rather than in a conference venue or community centre. They stated that it helped with “the vibe, and enabling the appreciation of the film in the setting it was intended for.” 55 They felt it was an opportunity to increase knowledge and understanding of heritage and society: “film is a powerful tool and can be used to educate people with different learning styles.” 56

For the service users from Barnet Mencap, the small location was well suited to their additional needs. The staff supported the screening and helped to build a good rapport with the audience. For other organisations, there were multiple screenings with “increasing success.” 57

The screenings provided cinemagoers with the opportunity to see something they would not usually have access to. They had diverse audiences which were “mixed crowds with different perspectives, which helps with learning and understanding.” 58 Stakeholders saw this activity as a way of supporting the specialist film sector: offering a space for interested parties to explore social history in a creative way.

VII. ‘From The Archives’ screenings

55. Feedback collected by project staff right after the screenings.56. Ibidem.57. Ibidem.58. Ibidem.

49. Six screenings per year for three years were shown of which: seven were on black heritage, three on South Asian heritage, one on Deaf heritage, two targeted families and young people and one targeted adults with learning disabilities.50. Data collected by project staff on the day of the screenings. 51. Focus group, June 29, 2012.52. Focus group, July 6, 2011. 53. Data collected by project staff on the day of the screenings.54. Ibidem.

Burning an Illusion Q&A with Mark Simpson and film director Menelik Shabazz. © Maurita van Droogenbroeck.

21 22

VIII. External lightboxes IX. Touring exhibition

This exhibition aimed to show the architectural changes of The Phoenix over time by using images and information from the archives and focusing on four periods: 1910-1911 Premier Electric Theatre; 1911-1925 Picturedrome; 1925 – 1938 Coliseum; 1938 – 1975 Rex.

The staff and volunteers interviewed saw it as an effective way of engaging people with heritage and what it means to have the cinema in that location, maximising the links to the history of film making. Customers’ feedback was also very positive. Those who commented on the lightboxes stated that they were “quite striking,” 59 “informative” 60 and “interesting.” 61 Some added that “it is great to see how the building used to look”62 and that the lightboxes “mak[e] me want to come to the cinema.” 63 Those who saw the lightboxes for the first time were quite impressed by them and stated that they were “pleased with what was happening to the cinema.” 64

The touring exhibition consisted of panels that could be arranged in a flexible way depending on the location. Aimed to raise awareness of cinema and film history in north London as well as enable people to develop a solid understanding of the place of cinema in wider society, it was exhibited in fifteen venues such as museums, libraries and community centres. These included, for example, Hornsey Library, Alexandra Park Library, Church Farmhouse Museum, Bruce Castle Museum and East Finchley Library.

Feedback was generally very positive with 100% of those attending stating that they enjoyed the exhibition and 93% affirming they would recommend it to others. Also, 90% of visitors felt that their knowledge and understanding of cinema and film history in north London increased as a result of the exhibition and 51% stated they intended to attend similar events in the future. As the table below shows, the touring exhibition also increased participants’ pride in being part of the community:

Building and increasing participants’ pride

Since your involvement in the screenings, do you feel any of the following?

Increased pride in being part of your community

Your community is a better place

People are more cooperative

There are more local activities

None

43% 32% 19% 45% 15%

Participants defined the exhibition as “very enjoyable and informative,” 65 “a great introduction to the history of cinema in Barnet” 66 and a “fascinating history [account].”67 For some, the exhibitions even brought back memories: “A nostalgic and informative exhibition. It is good that some artifacts of past times of the local cinemas still survive. I hope that some younger citizens will appreciate their heritage.” 68

Even though the majority of those attending (66%) and filling in evaluation forms were 60 years old or over, the exhibition was well received by younger audiences as well with an 8-year old visitor stating “I really enjoyed everything in the exhibition especially the drawing of the cinema.” 69 Project staff and volunteers also observed that the touring exhibitions provided unexpected partnership-development opportunities to The Phoenix and increased its visibility.

59. Feedback collected by project staff during the project’s delivery. 60. Ibidem.61. Ibidem.

62. Ibidem. 63. Ibidem. 64. Ibidem.

65. Feedback collected by project staff right after the activity.66. Ibidem.67. Ibidem.

68. Ibidem. 69. Ibidem.

Phoenix Patron Maureen Lipman viewing one of the external lightboxes. © Jodi Warren.

23 24

X. Permanent Internal Exhibition

This consisted of a physical timeline tied to a timeline on a touch-screen computer and a large interpretive panel, displayed in the public areas of the cinema. The information on the timeline, which was provided by the book The Phoenix Cinema: A Century of Film in East Finchley, the cinema’s archives and other relevant sources, was editable in order to enable the staff to make changes over time.

The permanent internal exhibition’s main purpose was to illustrate the history of The Phoenix and wider film history by using different learning methods and employing visual images, written text, films, and sounds. The touch-screen allowed for several layers of information and was meant to actively engage people with learning and foster curiosity about the cinema.

Staff members and volunteers who participated in the focus groups and interviews agreed that the internal exhibition, at least as far as the touch-screen was concerned, represented the project’s less successful product. Front of house staff noticed that people did not engage with the touch-screen very much and commented that this was due to the timeline design and structure.

Despite this, huge improvements have been made and the project staff are determined to exploit the potential of the internal exhibitions as much as possible.

Interpretive panel in the foyer. © Maurita van Droogenbroeck.

A still from the redesigned touch-screen timeline.

25 26

This was a free leaflet providing a brief account of the history of The Phoenix. It was written by the Heritage Officer in collaboration with Year 8 English pupils at Fortismere School and also made available as an online PDF. 70 It was intended to be more accessible than the book, both in terms of content and price, while still increasing customers’ understanding of The Phoenix’s history. 71 The Phoenix History Leaflet was well received by the public who found it a source of valuable and essential information concerning the cinema.

XI. Phoenix History Leaflet

Before the Centenary Restoration Project, there were only individual volunteers who did particular pieces of work for the cinema, such as introducing or helping programme special screenings. The Centenary Restoration Project aimed to establish a volunteer programme by engaging volunteers as tour guides, interviewers and film-makers on the Centenary Storybook, programmers and researchers for the screenings, archivists, database and market research assistants.

The project successfully met its objectives. Data collected by project staff shows that sixty-nine volunteers have been involved in the project, working 1964.54 hours in total. Forty-one of them have remained for longer than six months and two of them have become trustees. The project managed to engage with members of disadvantaged groups as more than 7% of the volunteers who have been recruited were of Asian, Black or mixed ethnic origin. 72

Feedback provided by volunteers was also very positive. Those who filled in an exit questionnaire defined their experience as “interesting” 73 and “rewarding.” 74 One volunteer stated that her understanding of The Phoenix’s heritage and its place in wider British film history increased as a result of being involved in the project and that, most importantly, her contribution was appreciated and valued.

XII. Volunteers

70. The leaflet can be download from http://www.phoenixcinema.co.uk/education/heritage/phoenix-cinema-history-leaflet/.71. 10,100 copies were printed and 2900 were distributed to customers and others since September 2010.

72. Data collected by project staff during the project’s delivery. 73. Feedback collected by project staff. 74. Ibidem.

Phoenix History leaflet. Photo © Maurita van Droogenbroeck.

A volunteer introduces the 1940s screening. © Maurita van Droogenbroeck.

27 28

4. Stakeholders’ perceptionThe physical changes to the building were felt by stakeholders to have created a significantly different feel to the building, bringing it back once more to a “destination venue”: somewhere that the community wants to engage with and visit. Partners in some of the activities described how people could be emotionally connected to the screenings for different reasons, and being in the renovated auditorium enhanced this, especially its intimate nature.

Data collected through evaluation forms suggests that those involved in the screenings of films for specific groups, such as the black heritage sessions, felt that these screenings helped them to increase their understanding of the wider potential audience. Through links to specific community groups and creative and exciting programming, the cinema managed to widen the diversity of its audience, reflecting the wider societal changes to the local area and sub-region over the last 100 years.

The staff felt that by working with schools and other educational establishments across the borough, they have had the opportunity to use The Phoenix to bring film heritage to young people from deprived areas. This provided the opportunity for interested parties to learn more about making and screening films, along with the chance to discuss their passion for film or exchange technical knowledge with like-minded individuals.

Many customers commented on the activity programme and stated that it helped them to better understand film, cinema and social heritage. As one customer stated “[it helps to] engage people with the heritage of cinema and the wider area... give recognition for the part it played.” The activities were a chance to “experience cinematic culture in historic surroundings.” Some of the activities, such as the Centenary Storybook, were seen by cinemagoers as a good example of the cinema keeping the history alive, especially in an area of significant cinema heritage.

Both staff and customers felt that the programming really showcased material that people could relate to, bringing famous and exciting films to the public, and inadvertently educating them about film and cinema heritage in an interesting and accessible way. They felt that it was a “cohesive programme of activities for both community and education.” 75

Staff were seen to have increased their knowledge of film heritage at The Phoenix and in the local area, which helped them to better articulate this history to customers. This project helped the cinema to use volunteers in new ways, offering more to both volunteers and the cinema through the skills, knowledge, experience and passion on offer. They were able to communicate their enthusiasm for the cinema to customers and staff alike, adding significant value to the activities on offer.

Overall, stakeholders felt it to be “a hugely successful project. The future [of the cinema] is significantly more secure as a result of undertaking the project.” 76

75. Interview with project staff, March 23, 2012.76. Ibidem.

The audience joins in the dancing at the Mini Mela event. © Maurita van Droogenbroeck.

29 30

5. Lessons learnt and recommendations for future projectsThe Centenary Restoration Project delivered a range of positive outcomes, in addition to its successful engagement with the public.

A wide range of activities were offered to different social groups, from tours to entertain adults and school groups to creative opportunities for students, and from specialist screenings to historical information for people to browse at their leisure. The breadth of the activities provided additional value for new visitors, something worth travelling for. This was one of the key strengths of the Centenary Restoration Project.

Furthermore, some of the activities, including the touring exhibition and the education projects, provided relevant partnership-development opportunities with local institutions, such as schools, community centres and libraries. These offer the potential for further collaboration in the future. The links that have been established with these organisations should therefore be exploited to secure future income-generation opportunities.

Many of the activities that the staff developed and delivered also enabled the public to connect with cinematic history without realising they were learning, which proved to be one of the most effective ways to engage people with The Phoenix’s heritage. The ‘A Century of Cinema’ screenings and behind the scenes tours were both good examples of this. The first offered those who participated the opportunity to have fun, and in some cases “be transported back in time,” while learning about film and cinema history. The second enabled participants to learn about film-making and the cinema’s history while enjoying the beauty of the building.

The restoration work improved The Phoenix’s image and restored it to its old beauty, while also creating opportunities to socialise. The café area inside The Phoenix turned into a space where customers could talk, exchange their views on the film they have watched, share experiences and develop a sense of community.

Moreover, the challenges of evaluating the activities were clear to the project staff from the outset. Long questionnaires might not be appropriate for people who had come to watch a film or to follow a tour. The use of photographs and videos and independent observation enabled the project to capture information that would have otherwise been lost. Future projects should consider these and additional methods of evaluation to ensure that relevant data is collected.

Project staff also found that the links with some partner organisations, in particular schools, did not start as smoothly as intended, with engagement being quite difficult. Through additional work and patience, and the flexibility to adapt to curricula, the project staff were able to offer students from a number of courses interesting and engaging sessions. Future projects should consider leading in time for setting up activities with partners.

The make-up of the audience has also changed as a result of some of the Centenary Restoration Project’s activities. Particularly, through delivering the specialised screenings, staff have become more aware of new audiences and their needs. It is therefore essential that this is reflected in The Phoenix’s offer long-term, both in terms of programming and in terms of the food offer. This would secure the new audiences that have been attracted by the project and support the long term sustainability of the cinema.

All the people involved in the development and delivery of the Centenary Restoration Project, including project and front-of house staff, volunteers, and Heritage Education Committee members, proved to be dedicated to achieving the objectives set out in the project and ensuring the long-term sustainability of The Phoenix. Their work and commitment have been essential to the successful realisation of the activities.

The Phoenix Cafe. © Jodi Osborne.

31 32

6. ConclusionsThe Centenary Restoration Project consisted of a number of activities that aimed to engage new and current audiences with The Phoenix’s heritage and history, increase the public’s knowledge of the place that The Phoenix occupies in wider cinema and film history, while seeking new income-generation opportunities to secure the longer term sustainability of the cinema.

As discussed above, the project was generally successful in meeting its stated engagement and learning objectives. Visitors were enthusiastic about the film screenings as well as the touring exhibition, which gave them the opportunity to see and hear how the cinema changed over the years.

The tours of the cinema and the opportunity to look behind the scenes were well received by those who attended. This offered an activity which is not usually available in newer cinemas, allowing visitors to see the contrast between new and old technologies, examine the décor, and better appreciate the long history of the cinema. Students involved in education projects were also particularly excited about the tours, as they had the chance to ask questions, be curious and creative, and explore a beautiful, old building.

Lastly, the project met its objective of attracting new audiences through the delivery of specialised screenings. By adapting the cinema’s offer to new audiences, project staff could exploit the benefits reaped thanks to the Centenary Restoration Project and ensure the long term sustainability of The Phoenix.

The discussion following a screening for Deaf people, with BSL interpretation and a palantypist.

Opening Night, September 10th 2010. © Will Martin.

33 34The auditorium, October 2012. © Maurita van Droogenbroeck. Evaluation designed by Phoenix Marketing Officer Bill Lowe.

SEPTEMBER 2012