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How the west embraced Chairman Mao’s Little Red Book

At the peak of its popularity, Mao's bible was the most printed book in the world. It attained the status of a sacred, holy text during the Cultural Revolution, and retains its place among western devotees.

Raise the red icon: with the dawn of the Cultural Revolution, the belief in the power of the Chinese chairman's words spread to Europe. Image: Corbis.

Mao's Little Red Book: a Global History
Edited by Alexander C Cook
Cambridge University Press, 299pp, £17.99

In 1968 a Red Guard publication instructed that scientists must follow Mao Zedong’s injunction: “Be resolute, fear no sacrifice and surmount every difficulty to win victory.” Expert knowledge was not valid, and might be dangerously misleading, without the great leader’s guidance. Examples of revolutionary science abounded at the time. In one account, a soldier training to be a veterinarian found it difficult to castrate pigs. Studying Mao’s words enabled him to overcome this selfish reaction and gave him courage to perform the task. In another inspirational tale, Mao’s thoughts inspired a new method of protecting their crops from bad weather: making rockets and shooting them into the sky, peasants were able to disperse the clouds and prevent hailstorms.

By the time the Red Guard publication appeared, Mao’s Little Red Book had been published in numbers sufficient to supply a copy to every Chinese citizen in a population of more than 740 million. At the peak of its popularity from the mid-1960s to the mid-1970s, it was the most printed book in the world. In the years between 1966 and 1971, well over a billion copies of the official version were published and translations were issued in three dozen languages. There were many local reprints, illicit editions and unauthorised translations. Though exact figures are not possible, the text must count among the most widely distributed in all history. In the view of Daniel Leese, one of the contributors to Mao’s Little Red Book, the volume “ranks second only to the Bible” in terms of print circulation.

Originally the book was conceived for internal use by the army. In 1961, the minister of defence Lin Biao – appointed by Mao after the previous holder of the post had been sacked for voicing criticism of the disastrous Great Leap Forward – instructed the army journal the PLA Daily to publish a daily quotation from Mao. Bringing together hundreds of excerpts from his published writings and speeches and presenting them under thematic rubrics, the first official edition was printed in 1964 by the general political department of the People’s Liberation Army in the water-resistant red vinyl design that would become iconic.

With its words intended to be recited in groups, the correct interpretation of Mao’s thoughts being determined by political commissars, the book became what Leese describes as “the only criterion of truth” during the Cultural Revolution. After a period of “anarchic quotation wars”, when it was deployed as a weapon in a variety of political conflicts, Mao put the lid on the book’s uncontrolled use. Beginning in late 1967, military rule was imposed and the PLA was designated “the great school” for Chinese society. Ritual citation from the book became common as a way of displaying ideological conformity; customers in shops interspersed their orders with citations as they made their purchases. Long terms of imprisonment were handed out to anyone convicted of damaging or destroying a copy of what had become a sacred text.

The editor of Mao’s Little Red Book writes in the preface that this is “the first scholarly effort to understand Quotations from Chairman Mao as a global historical phenomenon”. It is an accurate description, but the collection has the shortcomings that are to be expected in a book of essays by academic authors. The prose style is mostly stodgy and convoluted, and the contributors seem anxious to avoid anything that might smack of a negative attitude towards the ideas and events they describe. “As a group,” the editor continues, “we are diverse with respect to age, gender, ethnicity and political sympathies.” He is right that, judged by prevailing standards, it is a well-balanced group. All of the relevant disciplines are represented – history, area studies, literature, political science and sociology – and although ten of the 13 contributors teach in the US, the collection is representative of the range of views of China that you will find in universities in much of the world. However, the fact that it reflects the present state of academic opinion is also the book’s most important limitation.

Reading the essays brought together here, you would hardly realise that Mao was responsible for one of the biggest human catastrophes in recorded history. Launched by him in 1958, the Great Leap Forward cost upwards of 45 million human lives. “When there is not enough to eat, people starve to death,” Mao observed laconically. “It is better to let half of the people die so that the other half can eat their fill.” He did not specify how those condemned to perish would be made to accept their fate. Ensuing events provided the answer: mass executions and torture, beatings and sexual violence against women were an integral part of a politically induced famine that reduced sections of the population to eating roots, mud and insects, and others to cannibalism. When Mao ordered an end to the horrific experiment in 1961, it was in order to launch another. The Cultural Revolution was nothing like as costly in fatalities, but it left a trail of broken lives and cultural devastation, the memory of which is one of the chief sources of the post-Mao regime’s legitimacy.

There will be some who object that everyone knows about Mao’s failings – why bang on about them now? However, if today we know the scale of Mao’s crimes, it is not as a result of decades of academic work on the subject. The first detailed examination of the famine, Hungry Ghosts (1996), was written by the Hong Kong-based journalist Jasper Becker. It was only in 2010 that the historian Frank Dikötter’s Mao’s Great Famine appeared, a pioneering study based on years of research in recently opened Chinese archives. Apart from accounts given in the memoirs of those who survived, the human costs of the Cultural Revolution were best captured by Simon Leys (the pen-name of the Belgian sinologist and literary critic Pierre Ryckmans) in his books Chinese Shadows (1974) and The Burning Forest (1987). The authoritative and revelatory Mao: the Unknown Story (2005) is the work of Jung Chang and her husband, Jon Halliday. Aside from Dikötter’s, none of the books that captured the human experience of life under Mao was written by a professional academic.

In fastidiously avoiding any reference to the oppressive realities of the Mao years, academics were faithful followers of conventional opinion. The predominant western perception of Mao’s regime was of a progressive political project – if at times it got a little out of hand, that was no more than the exuberance that goes naturally with such a liberating enterprise. When in the 1970s I raised with a British communist the millions who were killed in rural purges in the years immediately after Mao came to power, he told me, “Those sorts of numbers are just for western consumption.” Further conversation showed that his estimates of the actual numbers were significantly lower than those conceded by the regime. No doubt unwittingly, he had stumbled on a curious truth: the prestige of the Mao regime in the west was at its height when the leadership was believed to be at its most despotic and murderous. For some of its western admirers, the regime’s violence had a compelling charm in its own right.

Julian Bourg recounts how in France Mao’s thoughts became à la mode with the August 1967 release of La Chinoise, Jean-Luc Godard’s film about a youthful Parisian Maoist sect. Among French thinkers, Bourg notes, “Mao’s language of violence had a certain rhetorical appeal.” In fact, it was his combination of rhetorical violence with sub-Hegelian dialectical logic that proved so irresistible to sections of the French intelligentsia. Eulogising Mao’s distinction between principal and secondary contradictions, Louis Althusser deployed Maoist categories as part of an extremely abstract and, indeed, largely meaningless defence of “the relative autonomy of theory”.

Althusser’s student Alain Badiou (for many years professor of philosophy at the École Normale Supérieure) continued to defend Maoism long after the scale of its casualties had become undeniable. As recently as 2008, while commending himself for being “now one of Maoism’s few noteworthy representatives”, Badiou praised Mao’s thought as “a new politics of the negation of the negation”. From one point of view, this stance is merely contemptible – a professorial pirouette around a vast pile of corpses. But one must bear in mind the fathomless frivolity of some on the French left. Already in 1980, two former Maoist militants had announced their rejection of the creed in the language of fashion: “China was in . . . Now it is out . . . we are no longer Maoists.” Against this background, Badiou’s persistence is almost heroically absurd.

In the west, Maoism had two defining characteristics: it bore no relation to conditions in China, in regard to which its proponents remained invincibly ignorant; and it was embraced by sections of an intellectual class that was, for political purposes, almost entirely irrelevant. In Italy, Mao’s thought had for a time a slightly wider influence.
As Dominique Kirchner Reill writes, discussing Maoism in Italy and Yugoslavia, “In Italy Mao-mania was not purely a left-wing phenomenon. Some ultra-right groups quoted their Little Red Books to justify their arguments.” In 1968-73 the neo-fascist party Lotto di Popolo (“the people’s fight”) lauded Mao as an exemplary nationalist and resolute opponent of US global hegemony. In a footnote Reill observes that the “Nazi-Maoist movement in Italy included many other figures and groups” besides the Lotto di Popolo. It is a pity this aspect of Mao’s influence is not explored in greater detail.

Despite its inevitable limitations as an academic text, Mao’s Little Red Book contains much that is of interest. In a programmatic introductory essay Alexander C Cook compares the Chinese leader’s book to a “spiritual atom bomb” and considers its global fallout. Showing how it reflects the influence of the choral singing introduced into China by 19th-century Christian missionaries, Andrew F Jones provides an illuminating account of the rise of the Maoist pop song. Taking as her starting point the global distribution of the Little Red Book to over a hundred countries in the eight months between October 1966 and May 1967, Xu Lanjun examines the process of translation in the context of Maoist ideas of global revolution. Quinn Slobodian discusses the impact the book had in eastern and western Germany. In the concluding essay, Ban Wang considers the Little Red Book and “religion as politics” in China. Elsewhere, its influence in Tanzania, India, Peru, Albania and the former Soviet Union is discussed.

To my mind, the most illuminating contributions are those of Slobodian and Wang. Distinguishing between “badge books” and “brand books”, Slobodian defines the former as “books that express meaning through their outer form”, while brand books are “commodities that are consumed within the space of the market”. In West Germany in the late 1960s, the Little Red Book “resembled simultaneously an accessory of the classical workers’ movement and a modish commodity of the educated elite”. In theatres, across from the refreshments, there were glass cases “full of pretty red Mao bibles (two Deutsche Marks each)”. As an anti-consumerist commodity, the book became “a marker of social distinction within a commercial market”.

For Wang, the book “represented a scriptural authority and emanated a sacred aura”. During the Cultural Revolution study sessions were an unavoidable part of everyday life for people in China. Involving “ritualistic confessions of one’s errant thoughts and nightly diary-writing aimed at self-criticism”, these sessions, he writes, “may be seen as a form of text-based indoctrination that resembles religious hermeneutics and catechism” – a “quasi-religious practice of canonical texts”.

It was not long before the Little Red Book and anyone connected with it fell out of favour with the Chinese authorities. In September 1971, Lin Biao – who had first promoted the use of Mao’s quotations in the army – died in a plane crash in circumstances that have never been properly explained. Condemned as distorting Mao’s ideas and exerting a “widespread and pernicious influence”, the book was withdrawn from circulation in February 1979 and a hundred million copies pulped.

If it was used as scripture during the Cultural Revolution, the Little Red Book had something of the same function for its western devotees. In China, studying the book was believed to have enabled peasants to control the weather. In the west, its practical efficacy was more limited. Among the radical intelligentsia, it provided a fantasy of revolution that enabled them to forget that their political influence was practically non-existent. As China has embraced a type of capitalism and turned itself into the world’s second-largest economy, original editions have become a scarce commodity. Today the great leader’s thoughts have joined a host of trashy collectibles – Mao fridge magnets, CD cases, cigarette lighters and playing cards, among other bric-a-brac – and become items whose only value lies in the commercial marketplace. The Little Red Book has now achieved what looks like being its most enduring significance: as a piece of capitalist kitsch.

John Gray is the New Statesman’s lead book reviewer. His latest book, “The Silence of Animals: on Progress and Other Modern Myths”, is published by Penguin (£9.99)

John Gray is the New Statesman’s lead book reviewer. His latest book is The Soul of the Marionette: A Short Enquiry into Human Freedom.

This article first appeared in the 14 May 2014 issue of the New Statesman, Why empires fall

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Can celluloid lovers like Christopher Nolan stop a digital-only future for film?

Despite proponents like the Dunkirk director, physical film is finding it tough in the modern age. 

“Chris Nolan is one of the few producing and directing films right now who could open that film. He is one of the all-time great filmmakers.”

No prizes for guessing which new release Vue CEO Tim Richards is talking about. Aside from its box office success, aside from its filmmaking craft, aside even from its early reception as an Oscar favourite, Dunkirk sees Nolan doing what Nolan does best: he has used his latest film to reopen the debate about celluloid.

Until relatively recently all film was projected from that old, classic medium of the film reel - a spool of celluloid run in front of a projector bulb throwing images on to a screen. It comes mainly in two forms: 35mm (standard theatrical presentations) or 70mm (larger, more detailed presentations most popular in the 60s and 70s). Fans say it provides a “warmer” colour palette, with more depth and saturation than modern digital formats.

But now it’s hard to even see movies on film to make the comparison. After George Lucas, godfather of the Star Wars franchise, shot Star Wars Episode II: Attack of the Clones entirely in digital rather than on physical film, the rollout of digital progressed with clinical efficacy. Within ten years, film was almost wiped out, deemed to be impractical and irrelevant. Modern cinema, it was argued, could be stored in a hard drive.

Christopher Nolan set out to change all that. He championed film as a medium against the industry trend, producing (The Dark Knight, The Dark Knight Rises, Interstellar) in super-detailed, super-sized IMAX 70mm. With Dunkirk, Nolan has taken that further by screening the film in 35mm, 70mm and IMAX 70mm.

Nolan is not the medium's only poster boy – it is symbolic that the new Star Wars trilogy, 15 years on from Attack’s groundbreaking digital filming, is now being shot on film once more. This summer, Dunkirk may well be seeing the biggest rollout of a 70mm presentation in cinemas for 25 years, but in 2015 Quentin Tarantino’s The Hateful Eight saw chains and independent cinemas having to retrofit 21st Century cinemas for a 20th Century presentation style. It was a difficult process, with only a handful of screens able to show the film as Tarantino intended – but it was a start.

Today, celluloid is, ostensibly, looking healthier. A recent deal struck between Hollywood big wigs and Kodak has helped. Kodak will now supply celluloid to Twentieth Century Fox, Disney, Warner Bros., Universal, Paramount and Sony. It’s a deal which is not only helping keep Kodak afloat, but also film alive.

Kodak has also gone a step further, launching an app to help audiences find 35mm screenings in local cinemas. Called ‘Reel Film’, it endeavours to back Nolan and co in ensuring that celluloid is still a viable method of film projection in the 21st century.

Even so, whether Nolan’s film fightback has actually had any impact is unclear. Independent cinemas still screen in film, and certainly Vue and Odeon both have film projectors in some of their flagship screens, but digital dominates. Meanwhile, key creatives are pushing hard for a digital future: Peter Jackson, James Cameron and the creative teams at Marvel are all pioneering in digital fields. Whether or not film can survive after over a decade of effacement is a difficult – and surpisingly emotionally charged – question.

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Paul Vickery, Head of Programming at the Prince Charles Cinema in London, is the kind of person you might expect to talk all about how physical film is a beautiful medium, key for preserving the history of cinema. History, he tells me, is important to the Prince Charles, but it's a surprise when he saysfilm is actually more practical for their operation. Because not every film they screen has been digitised, access to old reels is essential for their business.

“If you completely remove film as an option for presentation as a cinema that shows older films,” he says, “you effectively cut 75 per cent of the films that you could possibly show out of your options, and you can only focus on those that have been digitised.”

Vickery says the debate around film and digital often neglects the practicality of film. “It's always focusing on the idea of the romance of seeing films on film, but as much as it is that, it's also to have more options, to present more films. You need to be able to show them from all formats.”

That’s a key part of what makes the Prince Charles Cinema special. Sitting in London's movie-premier hub Leicester Square, the Prince Charles is renowned for its celluloid presentations of older films and has made a successful business out of its 35mm and 70mm screenings of both classics and niche films.

“If there is the option to show film and digital, we tend to take film as the option because it's also something you can't replicate at home,” he explains. “It's also just the nature of how film is seen on screen: its image clarity, its colour palette, the sound is just something that's very different to digital, and I think that's something that's very worth saving.

“Not many people have 35mm projectors at home. If you have it on Blu-Ray or DVD, to see it on film is a way of dragging someone out from their house to come and see it at the cinema.”

Currently screening is Stanley Kubrick’s 1968 epic 2001: A Space Odyssey in 70mm. It’s an incredible presentation of what Vickery says is a seven or eight year-old print struck from the film’s original negatives: the colour of the picture is far richer, while the fine detail in some close-up shots is on par with modern movies. Even more impressive, though, is that the screening is packed. “Fifteen years ago, there would be cinemas where that would be almost on a circuit,” laments Vickery. “We've just stayed the course, and that's something that's just fallen away and we're one of the last, along with the BFI, to show films from film.

“There’s still a bit kicking around, but as we do more and more of it, we seem to be pulling out those people who are looking for that and they seem to be coming back again and again. The repertory side of our programme is more popular than ever.”

That popularity is seemingly reflected in its audiences’ passion for celluloid. Vickery tells me that the PCC’s suggestions board and social media are always filled with requests for film screenings, with specific questions about the way it’s being projected.

For Vickery, it’s a mark of pride. “It sounds like inflated ego almost,” he begins, as if providing a disclaimer, “but it's why I think the work we do and the BFI do and any cinema that shows films from film is about history. By us continuing to show film on film, studios will continue to make their film print available and keep them going out. If people stop showing films on film, they'd just get rid of them.

“Once they're all gone, they only way we're ever gonna be able to see them is if they're taking these films and digitising them, which as you imagine, is always going to be the classic set of films, and then there'll be very select ones will get picked, but it's not gonna be every film.

“You have to keep showing films from film to keep the history of cinema alive in cinemas.”

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History is something that the BFI is committed to preserving. 40 per cent of their annual programming is projected on celluloid, and they loan around 200 prints to venues each year. Their new “BFI 2022” initiative will produce 100 new film prints in the next five years.

Most recently they have focussed on safeguarding their archive, the BFI’s creative director Heather Stewart tells me when we meet her in her office in the BFI’s artsy offices just off Tottenham Court Road.

“We got money from the government to renew our storage which was a big deal because the national collection really wasn't safe,” she says  “There was work at risk because it was warm and humid and we have bought a fantastic, sub-zero state of the art storage facility in Warwickshire in our big site there and our negatives are there. So our master materials are all in there safe - all the nitrate negatives and all that. In 200 years, people will be able to come back and make materials from those, whether digitising or analogue.”

Stewart tells me that it’s important to do both: “Do we at the BFI think that audiences need to see films in the way the filmmaker intended? Yes. That's not going away - that's what we're here for. Do we want as many audiences as possible to see the film? Yes. So of course we're interested in digital.”

The restoration and printing project is attracting lots of “international interest” according to Stewart: just one example is that the BFI are looking into partnering with Warner Bros in their labs in Burbank, California.

“We're becoming the only place left that actually loans film prints around the world so that you can see the films the way they were intended,” she says. “So if you don't have any kind of renewal programme, you'll eventually just have blanked out, scratchy old prints and you can't see them."

They're getting financial support too, she says: “There are people like Christopher Nolan, Quentin Tarantino, Paul Thomas Anderson [director of Oscar-winner There Will Be Blood whose 2012 film The Master was shot and screened in 70mm], a lot of people who are very committed to film, and so there's conversations going on elsewhere and with the film foundation about bringing other investments in so we can really go for it and have a fantastic collection of great great 35mm prints for audiences to look at.”

As a fan of the film reel, Stewart is passionate about this. I put to her the common suggestion that lay audiences can’t tell the difference between screening on film, and digital. “I don't agree with that", she says. "If you sit with people and look at it, they feel something that you might not be able to articulate.

“It's the realism the film gives you - that organic thing, the light going through the film is not the same as the binary of 0s and 1s. It's a different sensation. Which isn't to say that digital is 'lesser than', but it's a different effect. People know. They feel it in their bodies, the excitement becomes more real. There's that pleasure of film, of course but I don't want to be too geeky about it.”

Yet not every film print available is in good condition. “There's a live discussion,” says Stewart. “Is it better to show a scratched 35mm print of some great film, or a really excellent digital transfer?”

There’s no neat answer.

But Stewart is certainly driven by the idea of presenting films as closely as possible to the filmmakers’ true vision. “If you're interested in the artwork,” she explains, “that's what the artwork has to look like, and digital will be an approximation of that. If you spend a lot of money, and I mean really a lot of money, it can be an excellent approximation of that. But lots of digital transfers are not great - they're cheap. They're fine, but they're never going to be like the original.”

The process of restoration doesn’t end with digitisation. Keeping film copies in order to have originals is hugely important given how quickly digital media change. Film is a constant form of storage which does not alter. As Stewart defiantly puts it, “all archives worldwide are on the same page and the plan is to continue looking after analogue, so it ain't going anywhere.”

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The BFI were kind enough put on a display of how film projection works in practice. Tina McFarling, Media Advisor, and Dominic Simmons, Head of Technical, provide a tour of two screens at BFI Southbank. Chatting in the projection room above the screen which hosted the 70mm première of Dunkirk, their passion for celluloid was on display.

Standing next to two mammoth 70mm projectors, Simmons talks through the real-terms use of film, and the technical expertise behind it. “It's a lot more labour intensive than sticking digital prints on, but it's something we want to do,” he says.

One of the projection booths at the BFI

During the visit, the team are prepping a rare 35mm screening of the documentary I Am Cuba to be shown that afternoon. Simmons says that operating a celluloid projector is a “more complex operation” than digital. Looking at the endless labyrinth of film and sprockets, it's easy to believe.

“If you're screening from film in a cinema,” he says, “then you need engineers, technicians who are capable of doing it, whereas a lot of multiplexes have deskilled their operation.”

Simmons says that, while larger chains have one engineer to oversee every screen with the actual process of running the films centralised with a centre loading playlists, the BFI has twenty-two technicians, each closely overseeing the projection of a film when on duty.

“There's so much about the different elements of the presentation that you need to know that all comes together with the sound, the lighting and the rest of it.

“When you're starting a film, it's more of a manual operation. Someone needs to be there to press the buttons at the right time, manage the sound, operate the curtains, and attach the trailers to the feature.”

Having skilled operators is all very well, but of course you need to have the equipment to operate in the first place. “We have to make sure that the equipment is kept and utilised as well as making sure the prints are available, and then the skills will follow”, he says.

Simmons says many are likening the film fight back to vinyl’s resurrection, but has a rueful smile when he talks about film being described as “hipsterish” and “boutiquey”.

He also points out that the quaint touches that make film attractive to this new, younger audience – blemishes, the occasional scratch – are a headache for projectionists. “For me,” he says, “that's quite difficult because a bad print of a film is never a good thing, but if it's a bad print of a film that can't be seen any other way...” He trails off sadly.

The threat of damage to film prints is constant, he says. “Every time you run a film print through a projector there is some element of damage done to it. You're running it over sprockets at loads of feet per second.”

He switches a nearby projector on – it’s loud, quick and, after leaning in to look more closely, it’s easy to see that it’s violent. “It's a really physical process,” Simmons continues. “The film is starting and stopping 24 times a second.”

The idea that shooting on film, for which the very raw material is in short and ever-decreasing supply, is endangered is a tragic one. “There's a finite amount,” Simmons says. “People aren't striking new prints, so if you damage a print, the damage is there forever.”

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The Prince Charles and the BFI are in a privileged position to protect endangered film stock. A friendly partnership between them, which sees the BFI lending reels to the Prince Charles, as well as benefitting from the business of London’s rabidly cinephile audience, allow them to prioritise screening on film the majority of the time. Not every cinema is so lucky.

While the historic Ultimate Picture Palace in Oxford does have a 35mm projector, owner Becky Hallsmith says that it’s mainly the digital projector in use “for all sorts of logistic reasons”.

Though Dunkirk’s push for film projection was a welcome one, it still didn’t make sense for the UPP to screen it. “Certainly we thought about it, but I felt that if you're going to see it on celluloid, you probably want to see it on 70mm, so we decided not to get it on 35mm.”

Economic factors come into effect here too – the UPP, based just out of the city centre in Cowley, vies for Oxford’s filmgoers’ love with the Phoenix Picturehouse in nearby Jericho. While they do have slightly different markets, Hallsmith was aware that the Picturehouse was already set to screen Dunkirk in 35mm, leading her to decide not to.

 “It's not like I'm saying we never do it” she clarifies. “But there are reasons I haven't this time.”

Hallsmith was also aware that not all of her projectionists are trained in screening film, saying that, by screening Dunkirk in digital, she was “taking that little headache out of the equation”.

For the UPP, practicality of this kind trumps sentiment, given the cinema’s small operation. “I'd love it if I had the time to work out what films had beautiful 35mm prints and programme accordingly,” she says, “but I just don't have the time to put that amount of thought into details of programming. We're tiny. I'm doing all sorts of different jobs around the cinema as well. The programming is by no means the least important - it's the most important part of the job - but there is a limit to how much one can do and how much research one can do.”

Despite the practical issues related to 35mm, Hallsmith is still glad to have the option available, saying that when the digital projector was installed in 2012, there was enough room for the installation to account for the 35mm one – and to revamp it.

Despite many 35mm projectors being sent to an unceremonious death in skips, some projectors that are replaced for digital successors are cannibalised for parts. Hallsmith was a beneficiary. “Most of the bits on our 35mm projector are quite new,” she explains, “because they had all this stuff that they were taking out of other cinemas, so they upgraded our 35mm for us because they had all the parts to do it with.”

But Hallsmith is grounded when I ask her if having both projectors in operation is important. “It's important for me,” she laughs. “One of my real pleasures in life is to sit at the back near the projection room and to hear the film going through the sprocket. It's one of the most magical sounds in the world and always will be for me.

“But I know that for a lot of our customers, it is neither here nor there, so I have mixed feelings about it. It's not like I think everything should be on 35mm. I love it, but I can see the practicalities.”

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It is certainly practicality that’s governing cinema chains. Cineworld, Odeon and Vue have all seen huge expansions in recent years. Vue chief Tim Richards, says celluloid is a “niche product”, but the admission is tinged with sadness.

“The problem that we had,” he says about the 70mm screenings of Dunkirk, “with the conversion to digital that happened globally, there are literally no projectors left anywhere, and it's very, very hard to get one. We managed to find a projector and then we couldn't find anybody who actually knew how to run it. There are very real practical issues with the medium.

“To reinforce that we have a new look and feel to our head office, and I really wanted to have an old analogue 35mm projector in our reception and we couldn't find one. We had thousands of these things, and we had none left. We couldn't even get one for our reception!”

Even with a working projector and a trained projectionist, Richards says the format has “very obvious issues” with mass consumption. Again on the subject of Dunkirk, this time in 35mm, he says, “One of the prints that arrived was scratched. It's something that's been in the industry for a long time. If you have a big scratch, you simply can't screen it. You've got to get another print, especially when it will run through part of the film.”

It’s something that saddens Richards, who still says that projecting on film forms part of the “philosophy” of Vue. “We’re all big supporters [of film] and we love it. We've all been in the industry for between 25 and 30 years, the whole senior team. We genuinely love what we do, we genuinely love movies.”

That said, Richards, who is a governor of the BFI, is firmly committed to refining digital, more practical for Vue’s multiplexes. “If you go down and look at what we opened up in Leicester Square, our new flagship site, it's a 100 year old building where we shoehorned in new technology so it's not perfect, but it gives you an idea of what we're doing."

The new site has two Sony Finity 4K resolution projectors working in tandem – as well as the brand new Dolby Atmos sound system. The dual projection gives the screen a brighter, deeper hue. From a digital perspective, it is bleeding edge, and the set up is being rolled out across the UK and Germany, with 44 sites and counting. Richards is, as you would expect, enamoured with the results, claiming “that screen stands up to anything in the world”. What might be more surprising are the reactions he claims that it has elicited from celluloid devotees.

“There were a lot of old hardcore film fans there who were pleasantly surprised at the quality” he says. “People think of digital as being that new, TV-at-home which has got that clinical feel to it, and they don't feel it's got that warmth and colour saturation. This [Finity presentation] has that warmth of an old 35mm or 70mm, so I don't think the future is going back.”

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For Richards and Vue, the future appears to be as bright as that 4K Sony Finity screen in Leicester Square - for celluloid, not so much. While the appetite for watching movies on film might be growing at a promising rate for indie exhibitors, the list of technical and logistical problems is still insurmountable for many smaller venues - saying nothing of the race against time to preserve easily-damaged prints.

The main concern is an ephemeral one: the preservation of the knowledge needed to run a film projection. When the BFI’s Dominic Simmons speaks about the skills of his team and the need to pass those skills on, it evokes near forgotten skills such as thatching and forging. If the BFI and the PCC have anything to say about it, those projection skills will live on, but it’s unclear how far their voices can carry in a digital multiplex age.

As for the voice of celluloid-lover-supreme Christopher Nolan, even he too is shouting down what seems to be an unstoppable march towards a convenient digital future. But in a groundswell of growing interest and passion for the film reel, it seems that a director so obsessed with playing with time in his films seems to have bought exactly that for celluloid. Time is running out on the film reel, but there might be more of it left than we thought.

This article first appeared in the 14 May 2014 issue of the New Statesman, Why empires fall