DUST IN THE SUN (1958) Movie Poster, Daybill, Australian Thriller
Size AU Daybill Post-War (13" x 30")
DUST IN THE SUN (1958) Movie Poster, Original Daybill, Unique Missprint, Jill Adams, Ken Wayne, Directed by Lee Robinson is in Very Fine Condition. Movie Poster and Condition. Condition: This...
DUST IN THE SUN (1958) Movie Poster, Original Daybill, Unique Missprint, Jill Adams, Ken Wayne, Directed by Lee Robinson is in Very Fine Condition.
Movie Poster and Condition.
Condition: This poster is presented in Very Fine condition, 2 Daybill folds as issued, minor paper wear at the bottom of the poster. This poster was misprinted, you will notice that the colour is slightly misalligned. This original Australian Daybill is an especially interesting and highly collectible cinema piece due to its unique printing variation, creating an unusual and distinctive appearance not commonly found in surviving theatrical posters. The slight colour misalignment contributes to its individuality and may appeal to collectors seeking uncommon examples of vintage movie advertising. The original folded release format remains intact and reflects authentic cinema distribution methods of the period. Australian Daybill posters are particularly sought after for their distinctive proportions and relative scarcity compared with international poster formats, making this a standout addition to any original movie poster collection or display of classic Australian cinema memorabilia.
Movie Synopsis
Dust in the Sun (1958) is a fascinating and lesser-known entry in Australian cinema history, blending mystery, drama and outback atmosphere into a uniquely local production from the late 1950s. Directed by Lee Robinson and produced by Australian screen icon Chips Rafferty, the film was adapted from the novel Justin Bayard by acclaimed Australian author Jon Cleary. The screenplay was developed by Lee Robinson, Joy Cavill and W.P. Lipscomb.
Set against the dramatic landscapes of the Australian interior, the story follows Justin Bayard, played by Ken Wayne, who becomes entangled in a chain of increasingly tense and tragic events after violence erupts involving local authorities and an Aboriginal prisoner. What initially appears to be an isolated incident develops into a deeper mystery involving suspicion, personal conflict and hidden motivations.
As Bayard attempts to understand the circumstances unfolding around him, he encounters a range of characters whose loyalties and intentions remain uncertain. The narrative gradually reveals tensions between justice, isolation and survival within the harsh Australian environment. Rather than relying on fast-paced action, the film builds atmosphere through its setting and interpersonal conflict, giving it a distinctly different feel from many international productions of the era.
The cast features Jill Adams as Julie Kirkbride, Maureen Lanagan as Chris Palady and Robert Tudawali as Emu Foot, with Tudawali representing an important presence in Australian screen history during a period when Indigenous Australian actors appeared far less frequently in feature productions.
One of the most interesting aspects of Dust in the Sun was its production history. Filming took place both in studio facilities in Sydney and on location near Alice Springs, capturing expansive Australian landscapes that became an important visual component of the film’s identity. The production was also notable for being among the early projects created after Robinson and Rafferty acquired former Cinesound studio facilities as part of their broader ambitions to develop Australian film production.
Although the film faced release challenges during a changing entertainment landscape influenced by the arrival of television, it remains an intriguing example of mid-century Australian filmmaking and provides an important snapshot of the industry’s ambitions during the era. Today, original posters for films such as Dust in the Sun attract collectors seeking Australian movie posters, rare cinema memorabilia and historically significant theatrical artwork.
This original Daybill becomes even more distinctive because of its documented printing variation, creating a combination of Australian film history and unusual production character that is difficult to replicate.
To find out more about Dust in the Sun (1958) click here to go to IMDB.com.
Special Notes.
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.