Film preservation embraces the concepts of expert film inspection, handling and repair, duplication of film materials in film laboratories, storage in film vaults and access through public exhibition. The NFSA together with our sponsors Deluxe Sydney and Kodak (Australasia) have been preserving Australian classic films in the Kodak/Atlab Collection (2000-2005) and the Deluxe/Kodak Collection (2006-2011). The goal is to preserve and make available a selection of significant Australian feature films produced between the 1950s-90s. This current project will be completed in June 2011, and by this time 75 titles will have been preserved.
In all preservation work, our goal is to represent as faithfully as possible the look and sound of the original film. As film deteriorates over time — increasing with use — it’s a challenge to know what the film might actually have looked like when it was made. By working closely with the filmmakers and skilled film technicians, we endeavour to produce new prints that will be acceptable to contemporary audiences and maintain the original intention and integrity of the film.
Feature films from the Deluxe/Kodak Cinema Collection are now available on request through Screening loans. Search the NTLC (Non-theatrical lending collection) or NFSA collection search (Theatrical loans) to find them. The collection search results will show all catalogue information about the title.
Below is a list of titles from the Deluxe/Kodak collection. Where the title shows as a link – this indicates the film has curated notes on australianscreen (ASO) which can be accessed by clicking on the link.
- A Street To Die (Bill Bennett, 1984)
- Burke and Wills (Graeme Clifford, 1985)
- Caddie (Donald Crombie, 1976)
- Dingo (Rolf de Heer, 1991)
- Father (John Power, 1990)
- First Contact (Bob Connolly and Robyn Anderson, 1986)
- Fran (Glenda Hambly, 1985)
- Gallipoli (Peter Weir, 1981)
- Kangaroo (Tim Burstall, 1986)
- Long Weekend (Colin Eggleston, 1978)
- Love Serenade (Shirley Barrett, 1996)
- Malcolm (Nadia Tass, 1986)
- Man of Flowers (Paul Cox, 1983)
- Manganinnie (John Honey, 1980)
- Monkey Grip (Ken Cameron, 1982)
- My First Wife (Paul Cox, 1984)
- No Worries (David Elfick, 1992)
- Proof (Jocelyn Moorhouse, 1990)
- Shame (Steve Jodrell, 1988)
- The Clinic (David Stevens, 1982)
- The Coca Cola Kid (Dusan Makavejev, 1985)
- The Fringe Dwellers (Bruce Beresford, 1986)
- The Last Days of Chez Nous (Gillian Armstrong, 1992)
- The Piano (Jane Campion, 1993)
- The Tale of Ruby Rose (Roger Scholes, 1987)
For the other 50 titles, see the Kodak/Atlab Collection.
- The National Film and Sound Archive of Australia must be acknowledged as the source of the print on loan for screenings in any publicity/promotion of the screening(s).
- For films that are part of the Deluxe/Kodak Collection, the sponsors, Deluxe Sydney and Kodak (Australasia) Pty Ltd, must also be acknowledged for their generous support in developing a major collection of new prints for screenings.
- The logos for the National Film and Sound Archive of Australia, Deluxe/Kodak, or any other logo leaders supplied at the head of a print must be included in a prints’ screening to your audience.