There is also this listed as being a B5 mini poster (6.9 x 9.8 inches) with credits printed on it, but still leaving a large blank space on the bottom of the poster.
There is also this listed as being a B5 mini poster (6.9 x 9.8 inches) with credits printed on it, but still leaving a large blank space on the bottom of the poster.
I have quite a few of this format for different titles, mostly with the blank space at the top. Never really decided on what to call them as there doesnt seem to be an official term.
Never really decided on what to call them as there doesnt seem to be an official term.
I tend to call them flyers or promo sheets. I think the term herald sounds a bit dated and most casual buyers of post 70s titles wouldn't know what that term meant.
An Australia The Top End (1987) daybill image is seen above with a blank section on the bottom of the poster. Different from the Filmways / Filmpac daybills that were not printed for screening details to be added, this above poster was printed for this purpose.
Australia The Top End was a 16mm self distributed film and the bottom blank section was designed to add dates and venue details, This film was destined to be screened mainly in hired halls were they could be screened on 16mm.
Reefer Madness (1938) Australian daybill posters that were printed for what certainly appears for first release screenings. This film was submittred to the Australian Commonwealth film censor by Urban Eye Releasing then, classified for public exhibition on 16mm in 1988.
This film's Australian cinema first release dates are interesting and very frustrating at the same time,
The following is what I do know.
No record found at all of the film being screened or banned in the 1930's.
Next up I discovered that the film was screened in two Australian venues in 1975. There were limited screenings at the Playhouse Canberra A.C.T. theatre, and also at the Union Theatre Sydney University. No record listed on the Government Australian Classification database for the film being classified at this time. Screened in 16mm or 35mm unknown.
Finally after the film had Australian theatrical screenings in 1975 the film is then listed on the Government Australian Classification database as being classified for public exhibition on 16mm in 1988, and this being thirteen years later.
An Acapulco Gold (1973) daybill printed for Associated Screen Arts for 16mm screenings of the film, with the blank section on the bottom of the poster. Printed sometime after the original Australian first releases in 1976 when it first appeared to have been self released by the makers of the film.
An advertisement from 3 Juine 1976 for the original first release 16mm screenings of the film'. Perhaps one only print in circulation at the time,
The interesting thing about the above daybill poster is the ''back to'' wording printed on it surely indicates that the above film poster was printed for a re-release at some later time or another. Bruce believes it is probably from the 1980's and has sold 51 daybills that are listed of this title on his website. Or the 51 almost all of these posters are classified as being in either very good to fine or fine condition indicating to me they were most likely never used.
My thinking is that when the film was originally screened it most likely played to only small numbers of patrons interested in viewing this documentary film, and only available at limited screening venues. When finally Associated Screen Arts took over the film's distribution they printed a large number of the daybill. When new bookings did'nt happen it left a huge stockpile of unused posters.
A final question is where then is a daybill example from the original 1976 release, and secondly where are any examples of the daybill image that was circulated to venues by Associated Screen Arts showing any indication of wear and tear usage?
Storm Riders (1982) and Tubular Swells (1976) Australian daybill surfing documentary film posters printed for 16mm commercial screenings. These were only two of many surfing films shot and screened on 16mm during their popularity during the 1960's through to the 1980's This genre of films were screened, as seen above in some cinemas that could screen 16mm, but mainly they were shown in local town halls and surf clubs across Australia. The blank sections on the bottom of the posters of course aimed to have screening details to be included, as examples seen on the images appearing above.
Some final comments on this topic to follow shortly. Before I do this though It would be great if anyone else would like to share any of their thoughts here regarding this subject. Attend any screenings perhaps?
Didn't attend any screenings, but that was certainly a popular genre of films back then. An easy way to make a regular income, if you knew what you were doing.
Something that has recently surfaced is the establishing of the number of commercial cinemas that are known to have screened 16mm films as well as 35mm. The known cinemas that were located in either beachside suburbs of Sydney or the central coast of NSW. are the Prince Edward at The Entrance, Jewel at Terrigal, Regal at Gosford, Balgowlah cinema,, Avalon theatre and the Manly Silver Screen theatre. All these cinemas being located near the Pacific ocean, close to surfing areas.
I will also add that the surfing 16mm film releases took place into the early 1990s as well as the 1960s through to the 1980 as mentioned earlier.
It would certainly appear that the daybill format was the sole advertisng poster material used for 16mm releases.. No one sheets or any other poster material has been located.
As John mentioned earlier there are many other posters of surfing films that were printed out there. I have a good number of these daybill poster images.
Just a note also to say that Surfers The Movie and Beautiful Day poster images included earlier are non Australian posters. Interestingly Surfers the Movie was classified with the adult M certificate when screened in cinemas in Australia.
The World Safari films were screened around Australia in sports clubs and small venues and posters had the blank space for screening details to be added.
Escape World Safari 111 (1988) Australian daybill. This film was submitted and classiried by the Australian film censor on 35mm.. This would mean that the film would have been screened on both 35mm and 16mm as well.
I'd say that the 35mm prints would have been blow ups from 16mm, common practice in those days.
On checking I found that Escape World Safari! 111 was originally shot on Arrifex 16SR2 cameras (16mm). Then as you mentioned it would have been blown up to 35mm, with this being the print submitted to the Australian film censor.
(Both Wil) Wheels Across A Wilderness (1966) early 16mm commercial released film daybill and one sheet film posters.
Two things to highlight here are firstly a one sheet produced for a commercial 16mm Australian release is indeed rare. The only one that I am aware of. Secondly no blank section appearing on the bottom of the daybill, and also the one sheet. It would certainly appear that this practice of having a blank space added was only introduced at a later period of time, most likely very early 1970s with the surfing film boom.
Comments
Peter
The Australian one sheet.
An Australia The Top End (1987) daybill image is seen above with a blank section on the bottom of the poster. Different from the Filmways / Filmpac daybills that were not printed for screening details to be added, this above poster was printed for this purpose.
Australia The Top End was a 16mm self distributed film and the bottom blank section was designed to add dates and venue details, This film was destined to be screened mainly in hired halls were they could be screened on 16mm.
Reefer Madness (1938) Australian daybill posters that were printed for what certainly appears for first release screenings. This film was submittred to the Australian Commonwealth film censor by Urban Eye Releasing then, classified for public exhibition on 16mm in 1988.
Peter
The following is what I do know.
No record found at all of the film being screened or banned in the 1930's.
Next up I discovered that the film was screened in two Australian venues in 1975. There were limited screenings at the Playhouse Canberra A.C.T. theatre, and also at the Union Theatre Sydney University. No record listed on the Government Australian Classification database for the film being classified at this time. Screened in 16mm or 35mm unknown.
Finally after the film had Australian theatrical screenings in 1975 the film is then listed on the Government Australian Classification database as being classified for public exhibition on 16mm in 1988, and this being thirteen years later.
Try and figure this one out?
An Acapulco Gold (1973) daybill printed for Associated Screen Arts for 16mm screenings of the film, with the blank section on the bottom of the poster. Printed sometime after the original Australian first releases in 1976 when it first appeared to have been self released by the makers of the film.
An advertisement from 3 Juine 1976 for the original first release 16mm screenings of the film'. Perhaps one only print in circulation at the time,
The interesting thing about the above daybill poster is the ''back to'' wording printed on it surely indicates that the above film poster was printed for a re-release at some later time or another. Bruce believes it is probably from the 1980's and has sold 51 daybills that are listed of this title on his website. Or the 51 almost all of these posters are classified as being in either very good to fine or fine condition indicating to me they were most likely never used.
My thinking is that when the film was originally screened it most likely played to only small numbers of patrons interested in viewing this documentary film, and only available at limited screening venues. When finally Associated Screen Arts took over the film's distribution they printed a large number of the daybill. When new bookings did'nt happen it left a huge stockpile of unused posters.
A final question is where then is a daybill example from the original 1976 release, and secondly where are any examples of the daybill image that was circulated to venues by Associated Screen Arts showing any indication of wear and tear usage?
Storm Riders (1982) and Tubular Swells (1976) Australian daybill surfing documentary film posters printed for 16mm commercial screenings. These were only two of many surfing films shot and screened on 16mm during their popularity during the 1960's through to the 1980's This genre of films were screened, as seen above in some cinemas that could screen 16mm, but mainly they were shown in local town halls and surf clubs across Australia. The blank sections on the bottom of the posters of course aimed to have screening details to be included, as examples seen on the images appearing above.
Peter
I will also add that the surfing 16mm film releases took place into the early 1990s as well as the 1960s through to the 1980 as mentioned earlier.
It would certainly appear that the daybill format was the sole advertisng poster material used for 16mm releases.. No one sheets or any other poster material has been located.
As John mentioned earlier there are many other posters of surfing films that were printed out there. I have a good number of these daybill poster images.
Escape World Safari 111 (1988) Australian daybill. This film was submitted and classiried by the Australian film censor on 35mm.. This would mean that the film would have been screened on both 35mm and 16mm as well.
I'd say that the 35mm prints would have been blow ups from 16mm, common practice in those days.
Peter
On checking I found that Escape World Safari! 111 was originally shot on Arrifex 16SR2 cameras (16mm). Then as you mentioned it would have been blown up to 35mm, with this being the print submitted to the Australian film censor.
Wheels Across A Wilderness (1966) early 16mm commercial released film daybill and one sheet film posters.
Two things to highlight here are firstly a one sheet produced for a commercial 16mm Australian release is indeed rare. The only one that I am aware of. Secondly no blank section appearing on the bottom of the daybill, and also the one sheet. It would certainly appear that this practice of having a blank space added was only introduced at a later period of time, most likely very early 1970s with the surfing film boom.
Peter