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Post-production   /  Rob Murphy

Splice Here: A Projected Odyssey

A 'Cineramic' roller coaster ride through the rise, fall and rebirth of projected film.


Impact areas




  • DIRECTOR Rob Murphy

  • PRODUCER Roslyn Walker



FILM IS DEAD! The mantra that accompanied the dawn of the digital projection age. But was it really true? Ten years ago it was clear to those of us who worked with film that the digital experience wasn't remotely the same thing. So as the debate and the comparisons raged on, I decided to ask the people who would really know; my fellow projectionists. Does film have a future and how will our treasured movie memories live on? The projectionist underground is a passionate, clandestine world and over time I came to realise that this disenfranchised community wasn't just collecting film memorabilia; they were saving titles from extinction. Legacy cinema is facing a largely unknown digital danger. We may be the last generation to be able to experience great cinema as it was meant to be seen... on film.

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0% funded
  • $160,000.00

  • $0.00

  • July 2022

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Issue Summary

A short summary of the issue the documentary is addressing

Our hope is to inspire and inform people that recording and projecting on film is an art form; one that must be preserved for future generations. It isn't enough that we have a digital record of these films. How we experience them is equally important. The decisions we are making right now about the survival of the projected film experience will be irreversible.


What is the impact vision statement of the documentary?

We hope to create a greater awareness for film appreciation and history; not just for the cinephiles but for the average movie goer. Everyone has a favourite film. A story that is intrinsically fused with a time and place in their lives. It's not just access to that original cultural experience that is important but preserving what these titles will look like.


What outcomes does the project hope to achieve from making this documentary?

For organisations and individuals to recognise that film is not just a disposeable part of popular culture. It is now entrenched in the cultural identity of society. Rights holders of film based artefacts must be responsible and made accountable for their continued public access and long term care.


How will this documentary achieve its outcomes?

Many 'projected on film' releases in the past five years suggest that audiences are seeking out the projected film experience again. This documentary offers a jumping off point; an understanding of what has been missing or may have never been experienced. Getting more film prints struck, out of archives and back into cinemas starts with audience awareness.


How will partnerships with this project help inform the project development?

Relationships with many archive and specialist screening organisations around the world have helped inform or have directly participated in the making of this documentary. Among them, The National Film & Sound Archive in Canberra and The National Audio Visual Conservation Centre at The Library of Congress in Virginia U.S.A

Audience Engagement and Social Impact

What actions does this project hope for its viewers after seeing this film?

To seek out and patronise more film screenings and to advocate for legacy cinema to be seen in its original format.

Measurement and Evaluation

What is the projects indicators for success?

Attendances at special film print screenings. Specialised film festivals and more film print releases. More projects being shot on film. More film labs opening across the world as they have been in the past five years.