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Fire shutters were still mandatory knock at the door preceded a rather Film Victoria created Cinemedia.
for projection and observation ports. portly gentleman, who asked if he Like many other government-
Large single shutters to cover both ports could have a look at the equipment. funded departments at this time, the
were installed. They were so heavy that He chatted about his Bell & Howell theatre was required to pay its way. It
they had to be pinned into place. Had 16mm machine at home and how he was renamed Treasury Theatre,
they dropped as required in the event of often ran films for his grandchildren. refurbished, and re-equipped, although
a fire and an unwary projectionist had During the course of our conversation the magnificent Bauer B14s would have
an arm or hand in the way, they would he said “By the way, I’m (Sir) Edgar run forever. ★
have acted as a guillotine. Coles”. Giving my name in response
A compact, six cell, high frequency sounded rather flat. Staff With Vision
exponential horn and 12-inch (30cm) Before the rebirth of Australian CATHS member Edwin
bass (woofer) speaker were mounted feature film production, the SFC theatre Schefferle (Scheff) was the driving
above the screen. Audio 'dead spots' in premiered the work of many up-and- force behind acquisition of the SFC
the auditorium meant that they were coming directors and producers. Films collection of over 20,00 titles. He
never really satisfactory. These such as The Naked Bunyip, Stork and A was also a major player in the
problems were corrected years later. City’s Child were all shot on 16mm.
establishment of the Melbourne
The theatre was used rather From these early beginnings and
Film Festival.
sparingly at first, mainly for State following their passion, many of these
Rodney Power, who passed away
Government seminars and SFC ‘second-wave’ pioneers went on to
in October 2006, aged 94, had been
screenings. There were special jobs, great things - Peter Weir, Fred Schepsi,
at the SFC from its inception in
such as of running confiscated film for Paul Cox, Joan Long, Phillip Adams,
1948 until 1973. An active member
the police Vice Squad and for the Tim Burstall - enriching us all by their
of the Australian Cinematographers
censor. I can remember running a film efforts. The 1970 Australian Film
Society, Rodney mentored many
for the censor that was to be screened Awards were presented at the theatre, a
young aspiring film-makers.
at the Melbourne Film Festival. I could far cry from the lavish awards
not believe my ears on hearing for the presentations of today.
first time the ‘F’ word uttered in a film. After a happy five years at the SFC,
How times have changed! it was time for me to move on. Time
When Anna Neagle came to appear and technology brought many changes.
at the Princess, a special screening of The Education Department Film
Fifty Glorious Years was held in her Library was absorbed into the Film
honour. It was said at the time that this Centre Collection. The distribution of
1938 film never made it to Melbourne films from the National Library also
because of the war. became an SFC responsibility.
After a screening to promote the Funding cuts in the 1991 State
Keep Australia Beautiful Council, the Budget, all but disbanded the SFC.
reception for guests and dignitaries was Only intense lobbying by Education
taking place in the foyer while I was personnel saved the film and video loan Long-time film booker Ms. Jean Ousley in
tidying up the projection room. A service. A later amalgamation with 2003.

CHANGES IN THE
PROJECTION

ROOM

By Greg Symons
This 1984 photo of me in the SFC
projection room is interesting for its
background detail.
It shows the Bauer Selecton 16mm
projector and one of the two Bauer
B14s with a fully enclosed spool boxes
for 2000-foot spools. We replaced these
spool boxes with 6000-foot arms. Then
came, not a platter system because
there simply wasn’t room, but a thing As I remember, we never ran double I believe that the SFC at this time
called a ‘MUT’ - Make Up Table. features. The cinema was more of an was the only cinema with cinema
Actually it was a ‘double MUT’ that art-house and ran one-offs. screen video projection. The place
could handle up to 24,000 foot spools - At the left is some of the Video could also show Super 8mm, with the
a double feature, and could also rewind Playback gear, with a hand built video projector set on top of the video cabinet
the film. switcher. at the left of the picture. ★

10 2007 CINEMARECORD