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First published in Polish by Bartek Lis

I discuss the project's objectives and pedagogical challenges with its curators, Jakub Walczyk and Joanna Stankiewicz.

Bartek Lis: You have been working together at the Zamek Cultural Centre in Poznań on the Accessible Cinema project since last year. What is the idea behind the project?

Jakub Walczyk: The project focuses on offering repertoire-based, cyclical, accessible screenings in cinema. Typically, inclusive events are somewhat festive and ‘event-driven’, and we wanted to make accessible film screenings a permanent part of the centre's programming. In addition, training to improve the skills and knowledge of the Zamek Culture Centre's staff in the field of accessibility, as well as the adaptation of the infrastructure (induction loop, audio description, processor and lift), are important elements of the project.

Joanna Stankiewicz: Accessible Cinema is simply about accessible film screenings at the Cinema forming part of the Zamek Culture Centre in Poznań offered each Tuesday at  11:00 a.m. and Thursday at 06:00 p.m. Tuesday screenings feature audio description and descriptive subtitles for people who are deaf and hard of hearing. At the same time, Thursday screenings are also interpreted into Polish sign language.

We already know that additional training for your institution's staff is important, but is the project also about something else, or just showing films? In other words, what other priorities do you have?

JS: I would say that Accessible Cinema is first an educational or social project and second a film project. What is important is that we use films as a pretext for meetings, exchanging knowledge, and broadening horizons. On the one hand, our aim is to raise society's awareness of different types of disability; on the other hand, it is also essential to address civic education issues. This is why there are many topics related to human rights, equality and democracy which are especially relevant in Poland today.

JW.: It is no coincidence that we offer accessible screenings at the Zamek Centre. This institution focuses on important issues, such as women's rights, sexual minorities' rights, and climate change, which are also present in the Accessible Cinema project. The films are often chosen to provide commentary on or increase our knowledge of issues that require a great deal of attention. On top of that, every last Thursday of the month, we hold Conversations about Accessibility.

What are these conversations?

JS: There are various initiatives, ranging from workshops to lectures and seminars, which are in some way related to the theme of the film being shown. For example, when we had a screening of the film Simona, we had a workshop for adults about herbalism. Among other things, we talked about sustainability and the importance of buying locally. When we screened Słoń (Elephant), a film about the love between two men in a small, homophobic village in the Podhale region of Poland, we invited the director Kamil Krawczyński to talk about the ins and outs of making films in Poland, but also about the rights of non-heteronormative people. This makes these meetings a versatile platform for adult education. They allow those of different ages and experiences to come together to learn and be challenged.

JW: At the same time, they are expanding their accessibility knowledge. We often find that sighted people look confused and ask what it is when we offer audio description headsets. On several occasions, we have seen a visually impaired person or someone with some form of sight loss explaining to a sighted cinema goer what an audio description system is, so the project is also about making people more aware of other people's needs and showing them that we can perceive the world differently.

Accessibility is a key element of this project; how else would you describe it?

JW.: Well, on the one hand, we understand accessibility in a strictly technical sense, as all sorts of facilities and tools that allow people with different needs to enjoy the big screen on the same terms as people without sensory or motor disabilities. I mean all the technical stuff like induction loops, audio descriptions, descriptive subtitles for the deaf, and a lift for people with alternative motor skills. All the necessary infrastructural and technical things that allow people with different disabilities to watch films in a cinema.

JS: We also care about affordability. Admission to the shows is PLN 5. This is so important for us in terms of treating people with dignity. They can pay for shows, as you have to pay to participate in any cultural activity. But on the other hand, the fee is so low that they can afford to pay for it. We can see that it works. By removing this economic barrier, many people can go to a cultural institution on their own to see a film because they can afford it.

JW.: We also try to make all our messages understandable to people with different levels of education and cultural capital. I would say, quite frankly, that we are even less interested in reaching the so-called intellectual elite than we are in achieving those groups who may use a slightly more straightforward language, who may be less educated, but who have the same need to participate in culture as the rest of society. Getting different people to come to these shows is also very important. Those who are disabled, those who are concerned about affordability, and those who want to go to the cinema.

What is your vision for the development of this project?

JW: We are ambitious, but we need funding to get there. At the moment, we are preparing several applications to various funding programmes. We need money, first, to continue the accessible screenings and, second, to develop and spread the idea not only in Poland but also in other countries of the European Union.

JS: On the one hand, we plan to continue with our regular shows. We want to make the next screenings sensory-friendly for people with atypical autism or autism spectrum disorder. This would allow them to participate in the shows in a relaxed atmosphere. We know the integration aspect is a bit trickier in this case because they need a sense of calm. Without external stimuli, they could concentrate fully on the film. Audio description, subtitles and sign language interpretation increase the number of stimuli, so there would definitely be a need for separate special screenings.  We are also trying to raise funds for a national conference promoting the concept of accessible screenings, to which we would like to invite distributors, producers and cinema-goers. We want to show why it matters. We're also preparing to apply to the Creative Europe programme, hoping to spread accessible screening to other European countries as well.

What have you learnt while working on Accessible Cinema?

JW: I've learned consistency and patience more than anything else. To see the results, you have to do a lot of this positivistic work beforehand. It takes lots of talking to people. I've also learnt that working in a friendly team is very important. For me, collaboration with Joanna, who was on board with the project from the very beginning, is an example of good cooperation. We have been able to motivate each other.

JS: It was also a lesson in humility, I think. We both worked in the film industry. Jakub has a degree in film production from the Łódź Film School, and I worked for many years at the Animator Festival in Poznań. But working on Accessible Cinema showed us that there are still things we don't know and that we must keep learning. We see this project as a challenge and a learning space.

What advice would you give to other people and institutions who, like the Zamek Centre, want to develop the concept of accessible cinema culture and film education?

JS: First and foremost, explore your environment. Knowing what organisations unite different communities in the area is very important. Through this work and thanks to talking to people, we have learnt that simply offering a discussion or a film with an interpretation in Polish sign language will not make people who use sign language come knocking on our doors.  Even the best prepared accessible programme - e.g. audio-described films - will not immediately lead to success in terms of attendance. If you do not build a relationship with a particular group, you should not expect them to become your audience automatically.

JW.: In the beginning, we were confronted with the lack of presence of the people we were trying to reach. That is, people who use audio description or Polish sign language. It was only through research and building relationships with disability organisations, much of which was done by Joanna that these groups began to come to us and become regular visitors to Accessible Cinema. So it is first relationship building and then developing a programme and relevant tools.  No amount of tools will get people to come in large numbers if you don't have a good relationship with them.

Thank you for the interview. I wish you all the best with your plans!

JS, JW.: Thank you.

dr Bartek Lis – sociologist and social researcher, cultural animator and educator associated with the Centre for Educational Practices at the Zamek Cultural Centre in Poznań. His interests include civic education, spectatorship development, the subject of ‘invisible disabilities’, the use of arts in education and social practice, and making cultural institutions accessible to people with disabilities. 

Further reading:

Culture and homelessness. Reflections in the margin of a certain study

I am gay. The educational potential of coming out

Culture and homelessness. Reflections in the margin of a certain study

Learning to age

EPALE interview: The potential embedded in accessible culture. The challenges for educators

Accessibility made accessible