Cinesound Productions

Cinesound Productions Pty Ltd was an Australian feature film production company, established in June 1931, Cinesound developed out of a group of companies centred on Greater Union Theatres, that covered all facets of the film process, from production, to distribution and exhibition.

Cinesound Productions established a film studio as a subsidiary of Greater Union Theatres Pty Ltd based on the Hollywood model. The first production was On Our Selection (1932), which was an enormous financial success.

Stuart F. Doyle and Ken G. Hall were the major figures involved in the establishment of Cinesound in 1931. Stuart Doyle was the Managing Director of Greater Union Theatres, which stemmed from Australasian Films, and it was his desire to encourage an Australian film industry that provided the impetus for Cinesound to develop. Doyle appointed his then personal assistant, Ken Hall, to the position of General Manager of Cinesound, and also put him in charge as supervisor of production. In this role, Ken Hall directed all but one of the seventeen films that Cinesound produced and also handled the business affairs of the company. Hall continued to lead Cinesound until 1956.

By 1934, Cinesound had three film studios in Australia, the original location at Bondi Junction and Rushcutters Bay in New South Wales and St. Kilda, Victoria. The Centennial Roller Skating Rink was purchased by Australasian Films/Union Theatres at 65 Ebley Street Bondi Junction in 1925 and began making silent films. The income from the rink was still required to subsidise the film making so the site was used by skaters at night and for filmmaking at night. The Bondi Junction location was known as Studio no. 1 with an additional two studios located in Rushcutters Bay and St. Kilda.

Both Doyle and Hall were very committed to the notion of showmanship, which encompassed ideas relating to the type of entertainment the public would want to enjoy, and how to effectively publicise that entertainment to the masses. The publicity campaign for The Squatter's Daughter, and its star Jocelyn Howarth, was particularly imbued with this concept. They were also interested in creating a star system along Hollywood lines promoting the idea that Cinesound was a "little Hollywood". It was this dedication to showmanship that led to all but one of Cinesound's feature films making a profit from the first release, and all of the films eventually at least broke even. In 1939 Hall said that the budgets of Cinesound films were usually between ₤10,000 and ₤20,000, and estimated that his first fourteen films had earned ₤350,000 at the box office.

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