Two contextual chapters (by Bull) chart effectively the cultural and political cross-currents of the period and explore different types of alternative companies, how they saw themselves and were seen by the ACGB (and others).
What does this focus on the relationship between alternative theatre and the ACGB offer?
One reason why the development of England's alternative theatre is brought so clearly into focus by the ACGB material is that state subsidy increased during most of the period covered, and alternative theatre companies were amongst its chief beneficiaries.
Thinking through the implications of the technology further, in 1985 the ACGB's Film Officer Rodney Wilson also asserted--in some extraordinarily visionary thinking which anticipates the digital era--that, "[o]nce installed, the catalogue of contents of a Video Access Library is infinitely extendable" (Untitled).
Over a ten-month period across 1983-84, there had been a total of 924 viewings at the Arnolfini--just under half the number of institutional bookings--which in contrast had generated a mere 174.88 [pounds sterling] in net income due to the much lower pricing necessary to attract members of the public to use this resource (ACGB "Educational").
ACGB. "Minutes of the Artists' Film Committee Meeting Held on 17 January 1977." London: ACGB.
--"Educational Services." London: ACGB, Apr 1984: http://fv-distribution-database.ac.uk/PDFs/ ACGB840400.pdf [accessed 20 July 2016]
Bell, Will (Film Education Services Officer, ACGB).
"Meeting at Southend re Video Access Library." London: ACGB, 9 Feb 1988.