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gram is the notion of introducing the Archive project and now exist as tape masters and time-
and its work to groups which, or individuals coded access copies for future client research or
who may not have had prior exposure to it, or use.
to renew or build on existing relations. The Nor is the Australian cinema angle ignored.
Melbourne/Fifties project was no exception in Each video production acknowledges the con-
this regard. Contacts included: Australian tributions to the national film record of each
Gallery of Sport, Australian Film Institute, cinematographer — professional or amateur
Cinemedia, Film Australia, Cine Service, Centre — or appropriate producer, director, or crew
for Australian Studies at Monash University, member whose work is featured in the com-
Marriner Theatres, Village Roadshow, Pacific pilation, either through end credits or direct
Films, Performing Arts Museum, Tennis commentary. Photographs of the relevant
Australia, Royal Melbourne Golf Club, University filmmakers are included wherever possible.
of Melbourne Archives, Swimming Victoria, City Some of the video projects have also
of Melbourne, Moomba Festival, Puffing Billy afforded opportunities to program film
Preservation Society, Melbourne Zoological screenings and publicity tie-ins. An
Gardens, Healesville Sanctuary, Australian Archive-curated short film session at the 1998
Cinematographers Society, Tusitala Club… and, of St Kilda Film Festival, for example, comprised prints of rep-
course, the Cinema And Theatre Historical Society itself! resentative films from the period which could not be included
Again, Melbourne-based video projects aim, wherever in their entirety in the Melbourne/Fifties video compile.
possible and practicable, to add relevant material to the nation- Filmmakers Peter McIntyre and Colin Munro were also in
al collection — through lodgement of original film compo- attendance to introduce their films.
nents or, at the very least, copy and return of items — as a Most importantly, though, the regional video program has
major part of the research activity. During the enabled the Archive to complete in a tangible and meaningful
Melbourne/Fifties project, for example: Gil Brealey, promi- way the ‘collection/preservation/access’ cycle. The increas-
nent on the Melbourne independent film scene in the 1950s, ingly positive response to its endeavours to return parts of the
located two of his earliest productions, Ballade and The collection to the Australian public, in a contextualised, pack-
Wheel. These had long been missing and were now offered to aged, and affordable form, has been heartening indeed. ★
the Archive on deposit, together with some of his other 50s
Notes:
films, and related photographs and clippings
1 Screen Sound Australia — The National Screen &
for the documentation collection; Peter
Sound Archive is the new name for the National Film &
Smith of GTV9 lodged a Betacam master
Sound Archive, the Commonwealth Government
of its Opening Night Telecast (Jan 1957);
agency responsible for collecting, preserving and
Cinemedia permitted the Archive to make making accessible Australia’s audiovisual heritage.
video masters from its 16mm prints of The name change was made in 1999.
important 50s documentaries such as Your 2 The “Living Sydney” project underwent several
House and Mine; while the Performing Arts changes and was eventually released on video as
Museum loaned for copying the Goslin Home Sydney City Life 1899-1948, with music and
Movie which provides a useful amateur pro- original commentary only, in 1995.
duction record of the feature film On The References:
‘Efftee: the production (and reproduction) of
Beach. And former Shell Film Unit producer,
Australia’s early talkies’, Filmnews, February
Roland Beckett, allowed the Archive to copy his
1990, p8.
16mm print of the sports documentary What
‘In Review: Old Times Revisited’, Football
Makes A Champion?
Record, 24 August 1996, p14.
Melbourne video projects also enjoy an active Photographs:
‘afterlife’ in terms of client access. The completed Documentation Collection ScreenSound Australia.
Melbourne/Fifties video contains segments from PS Adelaide photograph courtesy of the National Library of
165 films, a number of which were copied specifically for this Australia (P J Phillips Collection).

Current video projects involving the Archive’s Melbourne Office Footage offers, sales enquiries, and/or further product sug-
are: gestions are always welcome. The Archive’s Melbourne Office
◆ Bayside Reflections, a two-part history of Port Phillip Bay on is located at 223 Park Street, South Melbourne, Victoria
film (the first Part dealing with the two southern peninsulas 3205, and can be contacted on 03 9685 5800, and by
was released in June 2000; the second Part which looks at fax: 03 9685 5810.
the Top End of the Bay is scheduled for release in 2001. More Email: melbourne@screensound.gov.au
about these, and the process of transferring fragile film to
videotape in a future article.) Including the Melbourne-based videos, ScreenSound Australia’s
◆ Yarra River and Tributories, a new project which is in the in-house video product range now comprises over 80 titles.
early stages of planning. For a free Video and Audio Catalogue or specific product
A new title released earlier this year, The Fifth Set, is a information, contact the Melbourne Office (details above), or
co-production with Film Australia and Media Giants exploring freecall number 1800 677 609, or browse the Archive’s
the history of Australia and the Davis Cup. website at: www.screensound.gov.au

CINEMARECORD Autumn 2001 29