Cinemas across the UK are to broadcast live private viewings of the British Museum’s major exhibition Life and Death in Pompeii and Herculaneum on 18 and 19 June.

The exhibition, which runs until 29 September, is the first ever held on these important cities at the British Museum. Focussing on the Roman home and lives of the people who lived nearly 2000 years ago in Pompeii and Herculaneum, the unique live broadcast event will take cinema audiences back in time in the company of renowned experts and practitioners who, alongside live performances of music, poetry and eye-witness accounts, will bring to life extraordinary objects, some never seen outside Italy before. Interviews throughout the exhibition will be intercut with stunning specially recorded films in Italy, showing Pompeii and Herculaneum and the sleeping Vesuvius.

Curator Paul Roberts presents Life and Death in Pompeii and Herculaneum. Photo credit: Trustees of the British Museum.

Visitors will be taken along a Roman street and into a local house with atrium entrance, bedroom, kitchen, dining room, sitting room and garden.  Experts will take audiences close up to the famous casts of the people caught in the volcanic heat and showcase the objects from their daily lives. Examples include intricate pieces of jewellery, sculpture, mosaics, cooking equipment and even food including an intact loaf of bread with the baker’s stamp still on it.

“Following the success of live cinema broadcasts of theatre, opera and ballet, the British Museum is thrilled to produce and broadcast its live exhibition event,” says British Museum director Neil MacGregor. “This is a unique experience for audiences across the country to enjoy a very special evening view of this unmissable exhibition, full of fascinating objects lent to us from Italy, from the comfort of a cinema chair. It will be a very personal tour guided by experts who will explore the stories these special objects tell us of Roman life 2000 years ago. We hope this will inspire people to travel to come and see the exhibition at the British Museum”.

Curator Paul Roberts presents Life and Death in Pompeii and Herculaneum. Photo credit: Trustees of the British Museum.

The event will be shown through all the major UK cinema groups including Vue, Cineworld, Picturehouse, Empire, Curzon and Odeon as well as independent venues across the UK, all of whom have growing alternative content audiences. Tim Richards, CEO of Vue Entertainment said: “We are hugely excited to be working with the British Museum. This is a wonderful opportunity to continue our commitment in pushing the boundaries of traditional cinema exhibition. Not only are we helping to bring the epic and immense story of Pompeii and Herculaneum to a regional audience, but we’re doing it in a unique, intimate and affordable way that will undoubtedly appeal to our customers.”

John Travers, Alternative Content Manager at Cineworld, said: “At Cineworld we have embraced this exciting and innovative project, as we recognise that it’s a unique opportunity for our customers to experience this once in a life time exhibition in their local Cineworld cinema. As such, we have committed to show these two live events, for both the general public and primary schools, in up to 70 of our cinemas.”

The British Museum will broadcast the adult premiere on 18 June followed by a live transmission for school children across the country on 19 June. Schools all over the UK will have the opportunity to visit their local cinema for a fun, interactive show which will enhance cross curriculum learning.

Follow updates on the exhibition via Twitter on #PompeiiExhibition and the Museum’s Twitter account @britishmuseum.

DCM has launched Christmas at Picturehouse Supporting Barnardo’s; a unique partnership to raise awareness and funds for the UK’S largest children’s charity. The activity was orchestrated by media agency John Ayling & Associates (JAA) and Digital Cinema Media (DCM)

The multi-platform cinema activity incorporates on-screen, online and social media as well as in-house press and OOH. The solus partnership will culminate with Christmas screenings ranging from a broadcast of The Nutcracker live at the Royal Opera House to showings of traditional classics such as White Christmas.

The partnership with Picturehouse enables Barnardo’s to offer a greater depth of content, explaining how the charity helps the most vulnerable children in our society, generally, and specifically around Christmas by utilising the various touch points across the Picturehouse estate.

It crucially gives cinema-goers the opportunity to donate in a pertinent and emotive environment, via point of purchase, on site Barnardo’s fundraisers or on-screen text response.

Gerry Anyanwu, Group Head at DCM said: “We worked together with JAA on a bespoke solution for Barnardo’s. The partnership offers a unique opportunity to leverage the creative work across all Picturehouse touchpoints in an environment where the audience is highly receptive.”

Lindsay Gormley, Assistant Director of Marketing at Barnardo’s said: “Christmas at Picturehouse allows us to connect with donors at Christmas time. The ability to engage cinema-goers with detailed content about our work and projects makes this activity a vital part of our overall campaign. The TV campaign which is airing at the same time raises awareness and continues to be an effective medium but we wanted to incorporate a more personal and tailored piece of activity.”

Prior to this year, the world’s most celebrated film festival for independent cinema had previously confined itself to the US, and predominantly Park City, Utah. However, in March 2011 Sundance founder and screen legend Robert Redford announced that the inaugural Sundance London would take place this past weekend at the O2 Greenwich featuring some of the highlights of the 2012 Sundance Film Festival proper and would also feature some special concerts and the usual selection of industry panels and workshops.

Rather than spend a whole weekend at the soulless O2, I opted instead to see a few choice films and have a more relaxed festival experience. From looking at the films selected to be screened, it was quickly obvious to anyone familiar with the line-up from Park City that there was a huge omission. Ben Lewin’s The Surrogate picked up the audience award and the special jury prize at Sundance in January and is already tipped for Oscar success next year. For unknown reasons it was conspicuously absent from the London line-up but despite this there was still plenty to excite lovers of independent cinema. Here’s a short summary of the three films I saw:

Liberal Arts

Anyone familiar with hit US sitcom How I Met Your Mother will recognise Liberal Arts’ writer/director/lead actor, Josh Radnor, who plays Ted Mosby in the show. In Liberal Arts, Radnor plays Jesse a NY university admissions tutor who is invited to his former university for the retirement party of his second favourite professor. Whilst there he meets Zibby, a beautiful, literate sophomore student. They instantly make a connection and before you know it, they’re exchanging long rambling letters (the old fashioned kind) on the contents of a classical music mix-CD that Zibby gave Jesse.

This set-up will have set alarm bells ringing in the more cynical amongst you but after a shaky start, the tone is warm, affectionate and witty and the performances are immensely likeable. Elizabeth Olsen as Zibby once again proves that she’s a terrific actress and all the proclamations of her as a future star look to be right on the money. Radnor, whose face is a slightly rougher combination of Johnny Depp and John Cusack is an extremely likeable screen presence and Richard Jenkins and Alison Janney provide scene-stealing support.

With Zac Efron also in the cast, it’s no surprise that the film has already been picked up for UK distribution by Revolver / Picturehouse Entertainment and scheduled for an October release.

Nobody Walks

Lena Dunham is one of the hottest names in TV at the moment with her new show Girls proving to be a hit on HBO, she also wrote and directed a very well received feature called Tiny Furniture that had a small UK release at the end of March. So upon hearing that she had co-written Nobody Walks (with director Ry Russo Young) my expectations were high, perhaps unreasonably high as the film was my one disappointment of Sundance London.

Olivia Thirlby plays Martine, a conceptual artist who travels to LA to stay with Peter (John Krasinski), a sound recordist, and his family as he helps her finish her latest project. Her presence quickly upsets the welcoming atmosphere as she instantly sparks some kind of sexual energy in Peter. You can see where the plot is heading and it gets there with very little in the way of surprises. There’s some revealing insights into the hipster population of Silver Lake and the sound design is interesting but the film has little else to say. The affable Krasinski (Jim from the US office) is miscast and Thirlby struggles to convince as the sexually open, Martine.

Safety Not Guaranteed

Comfortably my highlight of Sundance London 2012 was Safety Not Guaranteed. Made for “well under $1m” according to director, Colin Trevorrow, the film features a brilliant comedy cast, who will surely be graduating to lead roles in comedy films with much larger budgets. Aubrey Plaza, whose stock expression is worth more than twenty clever putdowns, plays Darius, a put-upon intern at a Seattle newspaper. When the opportunity to investigate a classified ad stating ‘Wanted: Someone to go back in time with me’, she jumps at the chance to get her hands dirty. Accompanying boorish reporter Jeff (Jake Johnson), Darius goes undercover to win the trust of the source of the ad, oddball grocery store worker, Kenneth Connelly (Mumblecore hero Mark Duplass).

What follows is a surprising, touching and very funny tale full of optimism and warmth. It never condescends its lead characters and despite the more fantastical elements of the plot, it feels real. It hasn’t yet been picked up for distribution in the UK but that surely can’t be far off, especially after the rapturous reception it received after the screening.

One final point, a Q&A followed each film and unlike many Q&A’s I’ve sat through were a pleasure to be present at. The director’s were charming, articulate and spoke with real passion and humility, each one managed to enhance the film they were discussing.

So, one poor, one good and one very good film. Not a bad return for the first Sundance London and if they can find a better venue than the O2 (Hackney Picturehouse anyone?) Sundance 2013 could be unmissable.

The sponsorship of Picturehouse Recommends will focus on nine key films, including The Social Network, Another Year and George Clooney’s latest project The American.

Green and Blacks are using the sponsorship to promote a recruitment initiative using a 60-second advert in the ad-reel, produced by Brave, inviting cinemagoers to apply to be a new Green&Black’s chocolate maker – known as a ‘Taste Assistant’. One lucky cinemagoer will win a full-time job in the Green&Blacks kitchen creating new chocolate recipes and travelling the world to source organic ingredients.

Picturehouse cinemas will also run four idents in the ad reel before and after any upcoming Picturehouse Recommends films promoting three Green&Black flavours – Dark, Cherry and Butterscotch.

Marc Allenby, Head of Film Marketing and Sponsorship, of Picturehouse Cinemas says; “Our customers are savvy and very passionate about film. We believe Green&Black’s sponsorship of Picturehouse cinemas will offer them an enjoyable experience which they will talk about afterwards with their friends and family.”

Jeremy Playle, Sales Director at DCM says; “Green&Blacks was keen to target high-end consumers with great taste in film (and chocolate!). Picturehouse is a great fit for them. The experience of going to the cinema includes choosing a treat to eat during the film and in the next six months cinemagoers get the chance to sample Green&Blacks chocolate whilst they’re enjoying their film.”

The charity is offering free admission to those that download a voucher from the Action for Children website. Foyer activity in Picturehouse sites will also give cinemagoers the opportunity to fill in their details in exchange for a ticket to one of the screenings.

The film season will include ‘Stand By Me’, ‘Juno’, and ‘Son Of Rambow’, which will be shown at cinemas nationally, including all cinemas in the Picturehouse chain in locations such as Brixton, Clapham & Oxford, as well as at other independent screens in Wales and Northern Ireland.

Screenings will take place at all sites and will run for 3 months starting in March. Before each film there will be eight minutes of bespoke Action for Children content. The films were chosen to reflect Action for Children’s ‘Transformation’ strategy that sums up its role of transforming children’s lives.

Martin Bowley, Managing Director at DCM said: “Cinema is the quality advertising medium providing a great platform for engaging content – perfect for charity advertisers looking to build deeper relationships with consumers.”

Action for Children’s creative agency Baby Creative has designed a campaign to promote the deal including foyer promotions that will feature posters, counter cards and standees. These will help in driving admissions to the film season as well as offer the opportunity for cinema goers to fill in their details in exchange for a ticket to one of the screenings.

Commenting on the ‘Lights, Camera, Action for Children’ film season Polly Neate, Executive Director of External Relations and Communications at Action for Children said: “We’re committed to the child at the centre of everything we do. We are the voice of the most vulnerable children and young people and this opportunity means we can build vital relationships and awareness to help them. The cinema season is unique for a charity. The films all inspire transformation and our belief that helping people for as long as it takes is the key”.

Cinema is bucking the media downturn with the Cinema Advertising Association (CAA) posting figures showing cinema admissions growing 1.1% year on year, with the highest summer admissions for 40 years in 2008.

The deal with DCM represents the next step in the ongoing relaunch of the charity, that saw it rename itself from National Children’s Home to Action for Children, introduce a new logo and launch its first ever TV advertising campaign created by Baby Creative.

To support this rapid expansion DCM is offering sought after deals to advertisers wanting to take advantage of cinemas current resurgence in popularity. Its new digital package offers advertisers access to its entire national network of screens and significantly reduced production costs and lead times.Digital screens carry higher grossing 3D films so provide a premium offering over traditional screens and generally carry a higher capacity.

DCM’s digital expansion means that by the end of this year there will be 260 screens across the country equating to roughly 300,000 admissions per week in the UK’s premier cinemas including ODEON, Cineworld, Empire, Picturehouse and various independent chains.

Fleur Castell, head of marketing at DCM said: “3D screenings gross up to three times more than their two-dimensional counterparts so its in the interest of cinema chains to invest heavily in this technology. It also allows us to offer more flexible packages and content opportunities for advertisers”.

The deal with the BFI sees Digital Cinema Media take the role of an official media partner of the 53rd festival, which runs in October.

As part of the sponsorship, DCM will receive tickets for the biggest events, to be used in competitions and for guests and the opportunity to spread this message at major events in the festival.

Its logo will also appear in Festival materials, including the Festival catalogue, and at venues hosting films in the West End and at BFI Southbank. It will also appear on the website and the trailer promoting the Festival.

In return it will screen The Times BFI London Film Festival‘s official trailer across its network of cinemas in and around London.

Tim Platt, Marketing Manager at the Times BFI London Film Festival, said: “The Festival is a key calendar date for the world film industry and is a must-attend event for hundreds of international filmmakers who come to meet their audiences and share inspirations”

Fleur Castell, Head of Marketing for DCM, said: “Being part of both the cinema and film industry DCM is delighted to partner with the London Film Festival to help raise awareness of the Festival and help the UK’s thriving film scene”.

The Times BFI London Film Festival opens on Wednesday 14 October with the world premiere of Fantastic Mr. Fox, an animated feature directed by Wes Anderson and featuring the voices of George Clooney and Meryl Streep.

The full programme for The Times BFI 53rd London Film Festival will be announced on Wednesday 9 September. The Festival runs from 14-29 October 2009.

Digital Cinema Media (DCM) is the market leader in UK cinema advertising, providing 2,300 screens and 420 sites for advertisers. DCM owns a 66% share of the cinema advertising market through exhibitors including ODEON, Cineworld, Empire, Picturehouse, IMAX, and many Independent cinemas.