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Each film distributor received an American Paramount Pictures were very prominent in For a brief period 1939-1944, some posters
copy of each poster from the USA. The their choice of posters. They submitted to W appeared locally which were termed “photo
publicity department of the NSW branch E Smith Limited a copy of the insert card, and litho”. These were different in one respect –
would then examine each poster carefully but, placed an order for the manufacture of the they were similar to the American insert cards,
before they could commence printing for the posters. but were printed on the same paper as before.
local scene, they first had to be sent to the Only daybills of that type made their
Censorship Office. If the censors found any appearance, and I can only imagine there was
illustration of what was termed “catchlines” some important reason why this style of
that were deemed to be vulgar or offensive, printing was discontinued.
these would be crossed out in blue pencil.
They would also search for scantily dressed Bill poster advertising gradually became less
females. Any use of flick knives or other a feature of movie house exploitation and,
offensive weapons would also be marked in although most cinemas had their own
blue pencil, meaning “Not to be used”. billboards mounted on the outside walls of
shops, fences and attached to homes, they
When large posters had to be viewed (such as gradually removed them. Homes which had
24 sheeters), each distributor would submit an billboards mounted on their property received
illustrated black and white still of these. regular free passes.

The daybill posters were very often copied All cinema advertising was subject to
from an American style of poster called copyright. All stills and lobby cards were
“insert cards”. These were the same size as inscribed with copyright notices. Theatres
daybills, but were actually on the same thicker were obliged to return all the accessories to
material as lobby cards. the exchange on completion of their use.
Those employed in the exchanges were
instructed that they were not allowed to give
out any of the copyright material to outside
sources. Branch managers were instructed to
make staff aware that all accessories were
copyright material. There was also the threat
of instant dismissal.
The design of these was carried out by
Richardsons’ Studio, who produced a very As times changed and branch offices were
remarkable likeness of the original, in most closed, the rules gradually lapsed. In today’s
beautiful colours. Other film companies chose climate, we see a whole different atmosphere
various printing firms for their posters, which in relation to the past rules. Cinemas may
were very attractive and eye-catching, but not offer posters for sale. Gone today are all of the
always lifelike, as those from Richardsons’ past accessories of posters, lobby cards, slides
Studio. etc. Occasionally, a 24-sheet poster may be
displayed in a city for something special.
At times, one may be researching films of the
1930s to the 1960s on the Internet, and see All forms of movie advertising have been
illustrations of posters of the films of that era. revolutionised, with only American one-sheet
Surprisingly, these are not of American origin, posters imported and on display in cinema
but are actually copies of those manufactured complexes, as well as the quite regular
in Australia and are indicated as having been appearances of large, self-standing cardboard
printed by W E Smith Limited. As well as displays. ✶
others from Australia.

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