The Bakelite Museum opened in 1985 in London, moved to Somerset in the mid 1990s, and closed in 2018 when the lease expired. A new film by Fiona Candlin and the Derek Jarman Lab documents the museum and its process of closing.
Small museums often close leaving very few traces behind them, sometimes as little as a few entries in old guidebooks. But recording them more fully has great historical value. As Fiona writes:
It is important to document micromuseums because they often embody the concerns of specific groups at particular times and in particular places. Understanding what those concerns are is a means of understanding what people cared about. And it is important because micromuseums often construct exhibitions that have no obvious counterparts in major museums. The Bakelite Museum was a case in point because many of the artefacts were organised to create surreal juxtapositions or visual jokes. Tiny plastic living room furniture that was made for a doll’s house, including a television set, was placed on top of a television set, a dentist’s case of plastic false teeth and a clock embedded in a plastic ostrich with bendy legs were placed on a Bakelite coffin to form a memento mori, and wooden shoe-trees surrounded an electric heater evoking images of footwear being kicked off and feet warmed.
John Barnes was a noted film historian, who opened the Barnes Museum of Cinematography in St Ives in Cornwall in 1963, together with his wife Carmen. It was one of the first film museums, and the first in Britain. Thousands visited each year, and it attracted scholars from across the world.
The museum displayed a collection that John had acquired with his twin brother William over many years. The Barnes brothers tried to persuade public bodies in England to set up a permanent museum to house the collection, but were unsuccessful. A plan to move the museum’s collection to London also came to nothing, and the museum closed in 1986. The collections were dispersed, many of them to other museums. Objects from the era before cinema, including magic lantern slides, went to the Museo Nazionale del Cinema in Turin. The parts of the early cinema collection that related especially to England went to Hove Museum and Art Gallery where they are still on display.
This film is a tour of the museum, from the entrance door covered in photographs by Eadweard Muybridge to the most modern exhibit – a 1918 cinema projector. In between, Barnes demonstrates early moving image devices such as a thaumatrope and a praxinoscope, ‘What the butler saw’ machines, and early cinema cameras.
John Barnes was born in 1920 and died in 2008. He and his brother had started making films when still teenagers. You can watch one of them, about farming in Kent in the 1930s, on the British Film Institute Player.