As he recalls his visit in 2010, actor John Hurt reflects on Bradford’s cinematic heritage and the British voice in the film industry.
Our guest authors include researchers and students working with our collection, volunteers, friends of the museum, and representatives of other museums, charities and organisations we work with.
A visitor to the exhibition spotted herself in a Tony Ray-Jones photo. What will happen when Martin Parr’s Calder Valley work comes back to Yorkshire?
Image manipulation has been around longer than you might think—the compositing and shading techniques employed here were the precursors of Photoshop.
The 2014 BIFF identity has been met with heaps of enthusiasm, so we asked David Doran to write a few words about his experience working on the project.
Magnum Photographer David Hurn writes about his recent visit to our archives.
Former festival director Tony Earnshaw looks back at some of his fondest BIFF memories, including appearances by Jean Simmons and Michael Parkinson.
Associate Curator Ruth Kitchin picks some photographic highlights from John Thomson’s 19th-century album Foochow and the River Min.
We’ll be making hundreds of images from the world’s largest public collection of Cameron portraits available online as part of a year-long digitisation project.
Believe it or not, this grotesque and surreal lantern slide was a favourite at Victorian magic lantern shows—the forerunner to cinema whose popularity lasted for 300 years.
This week sees the release of a book co-authored by Brian May (yes, that one) about an unusual series of stereo photographs featuring hell, skeletons and demons all aglow.
Writer and children’s literature expert Elly McCausland investigates how writers, producers and directors turn our favourite children’s books into films.
Phil Boot, collection manager for the Ray Harryhausen Project, explores why Medusa is one of the most recognisable characters in model animation cinema history.