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When the new sub-stand- short feature?
ard gauges arrived in the
later 1920s film supplies Small film libraries
eventually became so much bad. in fact, sprung up
more extensive for the everywhere by the late
borne projectionist. On 1950's Just about any
16mm there were numerous camera store worth its
commercial libraries han- name seemed to have a
dling everything from film library on 8mm and/or 16mm. Like the aforementioned
shorts to features. While Kodak library (remember it tucked away in the basement
sponsored films from in in Melbourne's Collins Street?) or Peter Fox's (almost op-
dustriallibraries could sup- posite Kodak and again in the basement?). Then there was
ply shorts to screen for Carr Camera Company at the top of Swanston Street. or
those on a tighter budget! Camera Supply Company at the top end of Elizabeth Street.
Sponsored shorts bad their And Herbert SmalJ Cameras also ran a library. Out in the
Lion hand-cranked toy origins in B1itain with the suburbs Rosier Camera Store ran a film library in
35mm projector early enlightened financing Camberwell (Sef Rosier was a great supporter of the emerg-
of cinema by companies ing amateur movie making fraternity).
like gas and oil: eg. Aero Engine (1932) or Enough
to Eat? ( 1936). Even 9.5mm, being an earlier amateur gauge than 8mm,
once was served by a wide range of film distribu-
Purchasing feature films outright to screen tors. Sound films, as well as silent, were once
at home was a relatively late phenomenon. available of both short and features. But by
The well-known 'package film' concept the 1950"s the decline in 9.5mm support
that emerged in the 1930's and became a was obvious compared with the
flood after the war from sources like growth of 8mm. T recall one of
Bell and Howell, Eastman Kodak, the last 9.5mm libraries to op-
Eugene Castle of Castle Films in erate in Melbourne, in rhe Foy
America or Gaumont Blitish Inst- and Gibson department store.
ructional in Britain, involved putting Sound features like Alexander
out short one reel. sound and silent. Korda's Q Planes (from 1939)
items specifically designed for the augmented the more traditional
early silent 16mm projectors. most with fare that ranged from Our
a maximum spool capacity of 400ft (or some ten Gang comedies to Charlie Chaplin.
minutes) of film. These 'one reelers' ranged from
travelogues or general interest items to short sequences
from, or condensations of, highlights from generally non- Charlie, of course, was always
descript feature films (everything from Abbott and Costello a big drawcard in earlier years
to Frankenstein!). Once the staple of many small film li- for home movie shows (aJong
braries. they were also offered for direct sale to home pro- with other silent comedians
jector owners. Longer, two reel versions. were still based like Harold Lloyd,
on the 400ft reel size, for the reason explained above. Billy Bevan, Laurel
and Hardy. Snub
On standard 8mm these package films predominated both Pollard, Buster
from libraries and direct sales outlets, although more am- Keaton and the
bitious offerings were available fi·omlibrari.es like Kodak's Like). The trouble
where silent fea- was, as the years
tures were also passed, the silent
hired. How many cinema no Jonger
older 8mm projec had the san1e appeal
tionists remember for younger gen-
the science fiction erations. Apart from
feature The Lost some more ambitious
World ( l 925), or later efforts in America
Rin Tin Tin the (by disnibutors like
wonder dog in Blackhawk Films of
Lighthouse by Iowa) to provide an
the Sea (also from expanded diet of more
1925)? Even an popuJar modern fare on BELL & HOWELL
occasional early standard 8mm. it would Filmo
Pathescope 200-8 9.5 Projector Laurel and Hardy be almost forty years after Automatic
rhe inn·oduction of this Projector

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