16mm Prints in the Collections of the University of Melbourne + Reading List

| Giles Fielke
Loading films into the State Film Centre Van (VIC)  Source: Australian Centre for the Moving Image.

16mm Prints in the Collections of the University of Melbourne + Reading List

16mm Prints In The Collections Of The University Of Melbourne + Reading List | Giles Fielke

Listed below is a set of fifty 16mm film prints currently held in the collections at the University of Melbourne. There are certainly more prints to be added to this initial list, but they can all be found either on the University Library Catalogue or in the Visual Cultures Resource Centre (VCRC). 

A portable 16mm projector can be found at the VCRC, and in the near future it will again be possible to screen "film on film" at Federation Hall at the Southbank Film and Television Building, where there is a theatrical 16mm projector in the bio box.

Supplementing the film list is an extensive reading list, which includes primary documents. This resource expands on the research published in Typical Films and provides researchers with a literature overview for further enquiry. 

For information and guidance on how to screen 16mm film prints please contact: giles.fielke@unimelb.edu.au

Films in the Visual Cultures Resource Centre, University of Melbourne

Dennis Grafton, Stage Productions (no date)
Fernand Léger and Dudley Murphy (Man Ray), Ballet Mécanique (1924), 19mins
Ingmar Bergman, Persona (1966), 84mins
Introduction to Paleography (3 reels) – educational resource
Jean Renoir, La Grande Illusion (1937) (3 reels), 114mins
Jean Vigo, Zero for Conduct (1933), 41mins
Josef von Sternberg, The Blue Angel (1930), 99 mins
Lichtenstein (2000ft reel)
Luis Buñuel and Salvador Dali, Un Chien Andalou (1929), 21mins
Luis Buñuel, Viridiana (1961),  90mins
Lawrence Gowing and John Jones, Matisse: A Sort of Paradise (1969), 27 mins
Nigel Buesst and Ross Cooper, Jacka V.C (1977), 47mins
René Clair, Entr’act (1924), 22mins
Robert Wiene, The Cabinet of Dr. Caligari (1920), 74mins
Roman Polanski, Knife in the Water (1962) (3 reels), 94mins
Sergei Eisenstein, Battleship Potemkin (1925), 75mins

Films in the University of Melbourne Library

Al Razutis, Cities of Eden (Amerika) (1976), 10mins
Al Razutis, Sequels in Transfigured Time (1976), 14mins (Canadian Filmmakers Distribution)

Arthur and Corinne Cantrill, Articulated Image (1996), 4mins
Arthur and Corinne Cantrill, Eikon (1969), 3mins
Arthur and Corinne Cantrill, Experiments in three-colour separation (1980), 21mins
Arthur and Corinne Cantrill, 4,000 frames: an eye-opener film (1970), 3mins
Arthur and Corinne Cantrill, Katatjuta (1977), 24mins
Arthur and Corinne Cantrill, Moving Statics (1969), 28mins
Arthur and Corinne Cantrill, Print Light Play (1978), 6mins
Arthur and Corinne Cantrill, Two-colour separation studies (1979), 19mins
Arthur and Corinne Cantrill, Warrah (1980), 15mins

Brian McKenzie, A Place to Belong (1993), VHS/ Kanopy
Brian McKenzie, Pat and Eddy’s greyhound racing family (1994), VHS

Chris Knowles, Auto voyeur: A film by Chris Knowles (1987), 12mins 
Chris Knowles and Maggie Fooke, One View (1985), 13mins

David Perry, Album (1970), 6mins 

Dirk De Bruyn, 4 Tone (1982?), 9mins
Dirk De Bruyn, Feyers: A Dance Behind Your Eyes, No. 652 (no date, no length – VCA filmreel) (Catalogue: UniM Store Film 652 GE17)

Erika Addis, Sabina Wynn, The Invisible Woman (1980), 20 mins (Australian Film and Television School), 16mm

Frank Mouris, Frank Film (1973), 9mins (Pyramid Films)

Ivor, Arthur, Corinne Cantrill, Myself When Fourteen (1989), 19mins
Ivor, Arthur, Corinne Cantrill, Rainbow Diary (1984), 17mins (with music by Chris Knowles)

Len Lye, Colour Flight (1981), 4mins – Imperial Airways Advertisement
Len Lye, Free Radicals (revised version, 1979?), 4mins

Lynsey Martin, Automatic/Single/Continuous (1982), 8mins
Lynsey Martin, Leading Ladies (1975), 5mins

Marcus Bergner, An Historic Disturbance of Memory (1987), 20mins

Michael Buckley, untitled (1986), 6mins

Michael Lee, Rock Heart Fire (1986), 20mins (transferred to DVD)

Nathanial Dorsky, Ariel (1983), 16mins

Peter Drummond, Woodcraftsman: Stephen Hogbin (1976), 16mm/Kanopy

Ray Argyll, Return Home (1989), VHS/Kanopy

Roxlee and Benjie Lontoc, Spit/Optik (1989), 15mins (Philippines)

Yeye Calderon, Balat (1989), 8mins (Goethe Institut Manila, Philippines)

Reading List: Typical Films | Giles Fielke

Reading List: Typical Films

Reading List: Typical Films

Online Archives, Newsletters, and Repositories

Artists Film Workshop (Naarm/Melbourne) 
Arthur and Corinne Cantrill
Australian Centre for the Moving Image
Australian Film Institute Research Collection
Cinema Papers 1969-1970, State Library of Victoria, Australia
Cinema Papers 1974-2001, University of Wollongong, Australia
The filmmaker 1975-19uu / Melbourne Filmmakers’ Co-op, State Library of Victoria, Australia
Filmnews 1971-1995 (Sydney Filmmakers Co-operative with the Assistance of the Australian Film Commission), State Library of Victoria, Australia
Melbourne Independent Filmmakers (Innersense / Bill Masoulis)
Mesh: film/video/media/art, nos. 1-12 (1993-1999), State Library of Victoria, Australia
Metro Magazine
Modern Image Makers’ Association Newsletter, State Library of Victoria, Australia
National Film and Sound Archive  
Pure Shit – a website devoted to alternative Australian cinema 
Screening the Past 
Senses of Cinema
Super eight: newsletter of the Melbourne Super 8 Group (19uu-2001), State Library of Victoria, Australia.


Ball, Steven. “Turning and Unfolding: Personal Reflections on Cantrills Filmnotes.” Arthur and Corinne Cantrill Dossier, Senses of Cinema 56 (October 2010).

Beilharz, Peter. Imagining the Antipodes: Culture, Theory, and the Visual in the Work of Bernard Smith. Cambridge: Cambridge University Press, 1997. 

Blonski, Annette, Barbara Creed, and Fred Freiberg (eds.) Don’t Shoot Darling! Women’s Independent Filmmaking in Australia. Melbourne: Greenhouse Publications, 1987. 

Cantrill, Arthur. “Light of the Darkness: Dušan Marek’s films and animations.” Dušan and Voitre Marek: Surrealists at sea. Edited by Elle Freak, 116-127. Adelaide: AGSA, 2021. 

Cantrill, Arthur. “Some Thoughts on the Practice of Film as Art in Australia.” Experimenta (Melbourne: MIMA, 1988), 12-13. 

Cantrill, Arthur. “Towards a New Australian Cinema.” Westerly 3 (September 1972): 24-8. 

Cantrill, Arthur and Corinne. “Cinema Manifesto (1970).” Cantrills Filmnotes 1 (March 1971): 3. (Reprinted in a second edition in 1988.)

Cantrill, Arthur and Corinne. Index to Cantrills Filmnotes Issues 1 to 51/52 (1971-1986). Compiled by Arthur and Corinne Cantrill, assisted by Des Cowley and Peter Gaunt. Melbourne: Cantrills Filmnotes, 1987. 

Cantrill, Arthur and Corinne. Index to Cantrills Filmnotes Issues 53/54 to 93-100 (1987-2000). Melbourne: Cantrills Filmnotes, 2000. 
Australian Film Seminar Interview”, Arthur and Corinne Cantrill interviewed by Patricia Cameron for David Jones Media Centre, 1972 (28pp).

Capp, Fiona. “In the garden”. The Monthly (June 2009). 

Caputo, Rolando. “Outside The Cultural ‘Image’: Three Instances of Alternative Australian Film,” Art and Text 3 (Spring 1981): 13-33. 

de Bruyn. Dirk. “Out of the frying pan, into the fire: Cantrills Filmnotes as prestige machine.” On Fragmentation. Edited by Greg de Cuir Jr. Belgrade: Alternative Film & Video Research Forum, 2014, 20-27. 

de Bruyn. Dirk. “Text-texture-gesture.” Continuum: Journal of Media & Cultural Studies, 8, 1 (Jan 1994): 152-165.

de Bruyn. Dirk. “Writing on the Wall: Cantrill’s Filmnotes.” Metro Magazine, 111 (July 1997).

Dorsky, Nathaniel. “Arial: An Explanation”

Duncan, Catherine, “Cinema in the Nude,” Meanjin 27, no. 2 (1968): 227-231. 

Epstein, Jean. “Bonjour Cinéma (1921).” Excerpted in Jean Epstein: Critical Essays and New Translations. Edited by Sarah Keller and Jason N. Paul, 277–80. Amsterdam: Amsterdam University Press, 2012. http://doi.org/10.1017/9789048513840.016.  

Figuring Landscapes: Artists' Moving Image from Australia and the UK. Edited by Catherine Elwes, Eu Jin Chua, and Steven Ball. London: International Centre for Fine Art Research (ICFAR) & Camberwell College of Arts, University of the Arts London, 2008. 

Fielke, Giles. “Direct Actions on Things: Harry Hooton and Artist Film in Australia.” Cordite Poetry Review (October, 2020).

Foss, Paul. “Theatrum Nondum Cognitorum,” The Foreign Bodies Papers (Sydney: Local Consumption Publications, 1981), 15-38. 

Frampton, Hollis. “For a Metahistory of Film: Commonplace Notes and Hypotheses,” Artforum 10, no. 1 (September 1971): 32-5.

French, Lisa & Mark Poole, “Passionate amateurs: The experimental film and television fund and modernist film practice in Australia,” Studies in Australasian Cinema 5, no. 2 (2011): 174-5. DOI: 10.1386/sac.5.2.171_1. 

Gibson, Ross. “Camera Natura: Landscape in Australian Feature Films,” Framework 22/3 (August 1983): 47-51. https://www.jstor.org/stable/44109891.  

Gibson, Ross. “On the Back of Beyond,” interview by Tom O’Regan, Brian Shoesmith and Albert Moran, in Continuum: The Australian Journal of Media and Culture 1, no. 1 (1987).

Hodsdon, Barrett. Straight Roads and Crossed Lines, Shenton Park, W.A.: Bernt Porridge Group, 2001. 

Hodsdon, Bruce. “The Carlton Ripple and the Australian Revival”, Screening the Past 23 (November 2008).

Lee, Gary. “lying about the landscape,” in lying about the landscape. Edited by Geoff Levitus, 100-111. Sydney: Art & Australia, 1997.  

Little, Roy. “Film in Australia.” Westerly 3 (September 1972): 4-11.

Martin, Adrian. “The Cutting Edge: Collage and Montage in Australian Experimental Film and Video” (1989) 

Martin, Adrian. “Something Close to Nothing: Appropriation in Australian Experimental Film and Video of the 1980s.” What is Appropriation? An Anthology of Critical Writing on Australian Art in the 80s. Edited by Rex Butler, 381-292. Brisbane: IMA, 1996. 

Martin, Adrian and Sue McAuley et al. “Talking about little magazines. From a 3RRR.FM radio special produced by Adrian Martin and Sue McAuley, July 27, 1983. (The exchanges with Kris Hemensley and Corinne Cantrill are quoted. The editor of Meanjin, Judith Brett, was also a participant.)” H/EAR, 5 (Summer 1983/1984), 401-16. 

Mikhail, Samia. “The Experimental Art of Arthur and Corinne Cantrill.” Masters Thesis, RMIT University, 2006.

Moholy, Lucia. A Hundred Years of Photography 1839-1939. Harmondsworth: Pelican Books, 1939. 

Moliterno, Gino. Gino Moliterno, “Giorgio Mangiamele’s Clay and the Beginnings of Art Cinema in Australia,” Screening the Past 32 (December 2011).

Mudie, Peter. “Albie Thoms (dissimilis aliqua alia),” Senses of Cinema, 66 (March 2013).

Mudie, Peter. Ubu Films: Sydney Underground Movies 1965–1970, Sydney: University of New South Wales Press, 1997. 

Natarajan, Radhika. “Performing Multiculturalism: The Commonwealth Arts Festival of 1965,” Journal of British Studies 53, no. 3 (July 2014): 705-733. https://www.jstor.org/stable/24701795

Pike, Andrew and Ross Cooper, Australian Film: 1900–1977, revised edition, Melbourne: Oxford University Press Australia, 1998. 

Sherwood Spring, Joel. “Unbalanced Formula(tions),” in Forensic Architecture, Cloud Studies: Responses to the Cloud. Edited by Eleanor Zeichner and Stella Rose McDonald, 2-6. Sydney: UTS Gallery, 2020. 

Smith, Bernard. European Vision and the South Pacific. Third Edition. Preface by Kate Challis and with an introduction by Sheridan Palmer and Greg Lehman. Melbourne: Miegunyah Press, 2022. 

Smith, Bernard. Modernism’s History: A Study in Twentieth-Century Thought and Ideas, Sydney: University of New South Wales Press, 1998. 

Thoms, Albie. Polemics for a New Cinema. Sydney: Wild & Woolley, 1978. 

Thoms, Albie. “Australian Cinema at the Zero Point, 1976.” Part of a Nation Review special issue: “The rise of the Ozfilm” (June 11-17, 1976): 853-7.

Wright, Judith. The Moving Image. Melbourne: The Meanjin Press, 1946. 

Zuvela, Danni. “‘A Haze of Visions’: On Early Australian Avant-Garde Cinema,” emaj 6 (2011-2012). http://doi.org/10.38030/emaj.2012.6.2

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