Show Hide image Middle East 27 November 2014 Wahhabism to ISIS: how Saudi Arabia exported the main source of global terrorism Although IS is certainly an Islamic movement, it is neither typical nor mired in the distant past, because its roots are in Wahhabism, a form of Islam practised in Saudi Arabia that developed only in the 18th century. By Karen Armstrong Sign up for our weekly email * As the so-called Islamic State demolishes nation states set up by the Europeans almost a century ago, IS’s obscene savagery seems to epitomise the violence that many believe to be inherent in religion in general and Islam in particular. It also suggests that the neoconservative ideology that inspired the Iraq war was delusory, since it assumed that the liberal nation state was an inevitable outcome of modernity and that, once Saddam’s dictatorship had gone, Iraq could not fail to become a western-style democracy. Instead, IS, which was born in the Iraq war and is intent on restoring the premodern autocracy of the caliphate, seems to be reverting to barbarism. On 16 November, the militants released a video showing that they had beheaded a fifth western hostage, the American aid worker Peter Kassig, as well as several captured Syrian soldiers. Some will see the group’s ferocious irredentism as proof of Islam’s chronic inability to embrace modern values. Yet although IS is certainly an Islamic movement, it is neither typical nor mired in the distant past, because its roots are in Wahhabism, a form of Islam practised in Saudi Arabia that developed only in the 18th century. In July 2013, the European Parliament identified Wahhabism as the main source of global terrorism, and yet the Grand Mufti of Saudi Arabia, condemning IS in the strongest terms, has insisted that “the ideas of extremism, radicalism and terrorism do not belong to Islam in any way”. Other members of the Saudi ruling class, however, look more kindly on the movement, applauding its staunch opposition to Shiaism and for its Salafi piety, its adherence to the original practices of Islam. This inconsistency is a salutary reminder of the impossibility of making accurate generalisations about any religious tradition. In its short history, Wahhabism has developed at least two distinct forms, each of which has a wholly different take on violence. During the 18th century, revivalist movements sprang up in many parts of the Islamic world as the Muslim imperial powers began to lose control of peripheral territories. In the west at this time, we were beginning to separate church from state, but this secular ideal was a radical innovation: as revolutionary as the commercial economy that Europe was concurrently devising. No other culture regarded religion as a purely private activity, separate from such worldly pursuits as politics, so for Muslims the political fragmentation of their society was also a religious problem. Because the Quran had given them a sacred mission – to build a just economy in which everybody was treated with equity and respect – the political well-being of the umma (“community”) was always a matter of sacred import. If the poor were oppressed, the vulnerable exploited or state institutions corrupt, Muslims were obliged to make every effort to put society back on track. So the 18th-century reformers were convinced that if Muslims were to regain lost power and prestige, they must return to the fundamentals of their faith, ensuring that God – rather than materialism or worldly ambition – dominated the political order. There was nothing militant about this “fundamentalism”; rather, it was a grass-roots attempt to reorient society and did not involve jihad. One of the most influential of these revivalists was Muhammad Ibn Abd al-Wahhab (1703-91), a learned scholar of Najd in central Arabia, whose teachings still inspire Muslim reformers and extremists today. He was especially concerned about the popular cult of saints and the idolatrous rituals at their tombs, which, he believed, attributed divinity to mere mortals. He insisted that every single man and woman should concentrate instead on the study of the Quran and the “traditions” (hadith) about the customary practice (Sunnah) of the Prophet and his companions. Like Luther, Ibn Abd al-Wahhab wanted to return to the earliest teachings of his faith and eject all later medieval accretions. He therefore opposed Sufism and Shiaism as heretical innovations (bidah), and he urged all Muslims to reject the learned exegesis developed over the centuries by the ulema (“scholars”) and interpret the texts for themselves. This naturally incensed the clergy and threatened local rulers, who believed that interfering with these popular devotions would cause social unrest. Eventually, however, Ibn Abd al-Wahhab found a patron in Muhammad Ibn Saud, a chieftain of Najd who adopted his ideas. But tension soon developed between the two because Ibn Abd al-Wahhab refused to endorse Ibn Saud’s military campaigns for plunder and territory, insisting that jihad could not be waged for personal profit but was permissible only when the umma was attacked militarily. He also forbade the Arab custom of killing prisoners of war, the deliberate destruction of property and the slaughter of civilians, including women and children. Nor did he ever claim that those who fell in battle were martyrs who would be rewarded with a high place in heaven, because a desire for such self-aggrandisement was incompatible with jihad. Two forms of Wahhabism were emerging: where Ibn Saud was happy to enforce Wahhabi Islam with the sword to enhance his political position, Ibn Abd al-Wahhab insisted that education, study and debate were the only legitimate means of spreading the one true faith. Yet although scripture was so central to Ibn Abd al-Wahhab’s ideology, by insisting that his version of Islam alone had validity, he had distorted the Quranic message. The Quran firmly stated that “There must be no coercion in matters of faith” (2:256), ruled that Muslims must believe in the revelations of all the great prophets (3:84) and that religious pluralism was God’s will (5:48). Muslims had, therefore, been traditionally wary of takfir, the practice of declaring a fellow Muslim to be an unbeliever (kafir). Hitherto Sufism, which had developed an outstanding appreciation of other faith traditions, had been the most popular form of Islam and had played an important role in both social and religious life. “Do not praise your own faith so exclusively that you disbelieve all the rest,” urged the great mystic Ibn al-Arabi (d.1240). “God the omniscient and omnipresent cannot be confined to any one creed.” It was common for a Sufi to claim that he was a neither a Jew nor a Christian, nor even a Muslim, because once you glimpsed the divine, you left these man-made distinctions behind. Despite his rejection of other forms of Islam, Ibn Abd al-Wahhab himself refrained from takfir, arguing that God alone could read the heart, but after his death Wahhabis cast this inhibition aside and the generous pluralism of Sufism became increasingly suspect in the Muslim world. After his death, too, Wahhabism became more violent, an instrument of state terror. As he sought to establish an independent kingdom, Abd al-Aziz Ibn Muhammad, Ibn Saud’s son and successor, used takfir to justify the wholesale slaughter of resistant populations. In 1801, his army sacked the holy Shia city of Karbala in what is now Iraq, plundered the tomb of Imam Husain, and slaughtered thousands of Shias, including women and children; in 1803, in fear and panic, the holy city of Mecca surrendered to the Saudi leader. Eventually, in 1815, the Ottomans despatched Muhammad Ali Pasha, governor of Egypt, to crush the Wahhabi forces and destroy their capital. But Wahhabism became a political force once again during the First World War when the Saudi chieftain – another Abd al-Aziz – made a new push for statehood and began to carve out a large kingdom for himself in the Middle East with his devout Bedouin army, known as the Ikhwan, the “Brotherhood”. In the Ikhwan we see the roots of IS. To break up the tribes and wean them from the nomadic life, which was deemed incompatible with Islam, the Wahhabi clergy had settled the Bedouin in oases, where they learned farming and the crafts of sedentary life and were indoctrinated in Wahhabi Islam. Once they exchanged the time-honoured ghazu raid, which typically resulted in the plunder of livestock, for the jihad, these Bedouin fighters became more violent and extreme, covering their faces when they encountered Europeans and non-Saudi Arabs and fighting with lances and swords because they disdained weaponry not used by the Prophet. In the old ghazu raids, the Bedouin had always kept casualties to a minimum and did not attack non-combatants. Now the Ikhwan routinely massacred “apostate” unarmed villagers in their thousands, thought nothing of slaughtering women and children, and routinely slit the throats of all male captives. In 1915, Abd al-Aziz planned to conquer the Hijaz (an area in the west of present-day Saudi Arabia that includes the cities of Mecca and Medina), the Persian Gulf to the east of Najd, and the land that is now Syria and Jordan in the north, but during the 1920s he tempered his ambitions in order to acquire diplomatic standing as a nation state with Britain and the United States. The Ikhwan, however, continued to raid the British protectorates of Iraq, Transjordan and Kuwait, insisting that no limits could be placed on jihad. Regarding all modernisation as bidah, the Ikhwan also attacked Abd al-Aziz for permitting telephones, cars, the telegraph, music and smoking – indeed, anything unknown in Muhammad’s time – until finally Abd al-Aziz quashed their rebellion in 1930. After the defeat of the Ikhwan, the official Wahhabism of the Saudi kingdom abandoned militant jihad and became a religiously conservative movement, similar to the original movement in the time of Ibn Abd al-Wahhab, except that takfir was now an accepted practice and, indeed, essential to the Wahhabi faith. Henceforth there would always be tension between the ruling Saudi establishment and more radical Wahhabis. The Ikhwan spirit and its dream of territorial expansion did not die, but gained new ground in the 1970s, when the kingdom became central to western foreign policy in the region. Washington welcomed the Saudis’ opposition to Nasserism (the pan-Arab socialist ideology of Egypt’s second president, Gamal Abdel Nasser) and to Soviet influence. After the Iranian Revolution, it gave tacit support to the Saudis’ project of countering Shia radicalism by Wahhabising the entire Muslim world. The soaring oil price created by the 1973 embargo – when Arab petroleum producers cut off supplies to the US to protest against the Americans’ military support for Israel – gave the kingdom all the petrodollars it needed to export its idiosyncratic form of Islam. The old military jihad to spread the faith was now replaced by a cultural offensive. The Saudi-based Muslim World League opened offices in every region inhabited by Muslims, and the Saudi ministry of religion printed and distributed Wahhabi translations of the Quran, Wahhabi doctrinal texts and the writings of modern thinkers whom the Saudis found congenial, such as Sayyids Abul-A’la Maududi and Qutb, to Muslim communities throughout the Middle East, Africa, Indonesia, the United States and Europe. In all these places, they funded the building of Saudi-style mosques with Wahhabi preachers and established madrasas that provided free education for the poor, with, of course, a Wahhabi curriculum. At the same time, young men from the poorer Muslim countries, such as Egypt and Pakistan, who had felt compelled to find work in the Gulf to support their families, associated their relative affluence with Wahhabism and brought this faith back home with them, living in new neighbourhoods with Saudi mosques and shopping malls that segregated the sexes. The Saudis demanded religious conformity in return for their munificence, so Wahhabi rejection of all other forms of Islam as well as other faiths would reach as deeply into Bradford, England, and Buffalo, New York, as into Pakistan, Jordan or Syria: everywhere gravely undermining Islam’s traditional pluralism. A whole generation of Muslims, therefore, has grown up with a maverick form of Islam that has given them a negative view of other faiths and an intolerantly sectarian understanding of their own. While not extremist per se, this is an outlook in which radicalism can develop. In the past, the learned exegesis of the ulema, which Wahhabis rejected, had held extremist interpretations of scripture in check; but now unqualified freelancers such as Osama Bin Laden were free to develop highly unorthodox readings of the Quran. To prevent the spread of radicalism, the Saudis tried to deflect their young from the internal problems of the kingdom during the 1980s by encouraging a pan-Islamist sentiment of which the Wahhabi ulema did not approve. Where Islamists in such countries as Egypt fought tyranny and corruption at home, Saudi Islamists focused on the humiliation and oppression of Muslims worldwide. Television brought images of Muslim suffering in Palestine or Lebanon into comfortable Saudi homes. The government also encouraged young men to join the steady stream of recruits from the Arab world who were joining the Afghans’ jihad against the Soviet Union. The response of these militants may throw light on the motivation of those joining the jihad in Syria and Iraq today. A survey of those Saudi men who volunteered for Afghanistan and who later fought in Bosnia and Chechnya or trained in al-Qaeda camps has found that most were motivated not by hatred of the west but by the desire to help their Muslim brothers and sisters – in rather the same way as men from all over Europe left home in 1938 to fight the Fascists in Spain, and as Jews from all over the diaspora hastened to Israel at the beginning of the Six Day War in 1967. The welfare of the umma had always been a spiritual as well as a political concern in Islam, so the desperate plight of their fellow Muslims cut to the core of their religious identity. This pan-Islamist emphasis was also central to Bin Laden’s propaganda, and the martyr-videos of the Saudis who took part in the 9/11 atrocity show that they were influenced less by Wahhabism than by the pain and humiliation of the umma as a whole. Like the Ikhwan, IS represents a rebellion against the official Wahhabism of modern Saudi Arabia. Its swords, covered faces and cut-throat executions all recall the original Brotherhood. But it is unlikely that the IS hordes consist entirely of diehard jihadists. A substantial number are probably secularists who resent the status quo in Iraq: Ba’athists from Saddam Hussein’s regime and former soldiers of his disbanded army. This would explain IS’s strong performance against professional military forces. In all likelihood, few of the young recruits are motivated either by Wahhabism or by more traditional Muslim ideals. In 2008, MI5’s behavioural science unit noted that, “far from being religious zealots, a large number of those involved in terrorism do not practise their faith regularly. Many lack religious literacy and could . . . be regarded as religious novices.” A significant proportion of those convicted of terrorism offences since the 9/11 attacks have been non-observant, or are self-taught, or, like the gunman in the recent attack on the Canadian parliament, are converts to Islam. They may claim to be acting in the name of Islam, but when an untalented beginner tells us that he is playing a Beethoven sonata, we hear only cacophony. Two wannabe jihadists who set out from Birmingham for Syria last May had ordered Islam for Dummies from Amazon. It would be a mistake to see IS as a throwback; it is, as the British philosopher John Gray has argued, a thoroughly modern movement that has become an efficient, self-financing business with assets estimated at $2bn. Its looting, theft of gold bullion from banks, kidnapping, siphoning of oil in the conquered territories and extortion have made it the wealthiest jihadist group in the world. There is nothing random or irrational about IS violence. The execution videos are carefully and strategically planned to inspire terror, deter dissent and sow chaos in the greater population. Mass killing is a thoroughly modern phenomenon. During the French Revolution, which led to the emergence of the first secular state in Europe, the Jacobins publicly beheaded about 17,000 men, women and children. In the First World War, the Young Turks slaughtered over a million Armenians, including women, children and the elderly, to create a pure Turkic nation. The Soviet Bolsheviks, the Khmer Rouge and the Red Guard all used systematic terrorism to purge humanity of corruption. Similarly, IS uses violence to achieve a single, limited and clearly defined objective that would be impossible without such slaughter. As such, it is another expression of the dark side of modernity. In 1922, as Mustafa Kemal Atatürk rose to power, he completed the Young Turks’ racial purge by forcibly deporting all Greek-speaking Christians from Turkey; in 1925 he declared null and void the caliphate that IS has vowed to reinstate. The caliphate had long been a dead letter politically, but because it symbolised the unity of the umma and its link with the Prophet, Sunni Muslims mourned its loss as a spiritual and cultural trauma. Yet IS’s projected caliphate has no support among ulema internationally and is derided throughout the Muslim world. That said, the limitations of the nation state are becoming increasingly apparent in our world; this is especially true in the Middle East, which has no tradition of nationalism, and where the frontiers drawn by invaders were so arbitrary that it was well nigh impossible to create a truly national spirit. Here, too, IS is not simply harking back to a bygone age but is, however eccentrically, enunciating a modern concern. The liberal-democratic nation state developed in Europe in part to serve the Industrial Revolution, which made the ideals of the Enlightenment no longer noble aspirations but practical necessities. It is not ideal: its Achilles heel has always been an inability to tolerate ethnic minorities – a failing responsible for some of the worst atrocities of the 20th century. In other parts of the world where modernisation has developed differently, other polities may be more appropriate. So the liberal state is not an inevitable consequence of modernity; the attempt to produce democracy in Iraq using the colonial methods of invasion, subjugation and occupation could only result in an unnatural birth – and so IS emerged from the resulting mayhem. IS may have overreached itself; its policies may not be sustainable and it faces determined opposition from Sunni and Shia Muslims alike. Interestingly Saudi Arabia, with its impressive counterterrorist resources, has already thwarted IS attempts to launch a series of attacks in the kingdom and may be the only regional power capable of bringing it down. The shooting in Canada on 22 October, where a Muslim convert killed a soldier at a war memorial, indicates that the blowback in the west has begun; to deal realistically with our situation, we need an informed understanding of the precise and limited role of Islam in the conflict, and to recognise that IS is not an atavistic return to a primitive past, but in some real sense a product of modernity. Karen Armstrong is the author of “Fields of Blood: Religion and the History of Violence” (Bodley Head, £25) This article first appeared in the 20 November 2014 issue of the New Statesman, The deep roots of Isis
Show Hide image Film 23 August 2017 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. By Daniel Curtis Follow @danielpdcurtis Sign up for our weekly email * “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. **** 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 says film 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. They're currently running the Check the Gate festival, which is, in their words "a celebration of films presented from film". “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, the 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.” **** 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.” **** 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.” **** 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.” **** 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.” **** 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 20 November 2014 issue of the New Statesman, The deep roots of Isis