AustLit
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AbstractHistoryArchive Description
[Source: Screen Australia]
Notes
-
Adapted from David Williamson's first play The Coming of Stork (1970).
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Passionate Amateurs : The Experimental Film and Television Fund and Modernist Film Practice in Australia
2011
single work
criticism
— Appears in: Studies in Australasian Cinema , 24 August vol. 5 no. 2 2011; (p. 171-183) 'Most histories of the dynamism of the Australian film industry in the 1970s explore feature films, but a vital part of the creativity and energy of the revival occurred in the non-feature sector. A significant site of experimentation and originality in form, content and technique was the Experimental Film and Television Fund (EFTF). From its inception in 1970, The Australian Film Institute (AFI) managed the fund until 1977 when the Australian Film Commission (AFC) assumed control of it. Drawing on a series of interviews with key players involved in the fund during the AFI's tenure, and research for the book, Shining a Light: 50 Years of the Australian Film Institute (French and Poole 2009), this article traces this significant period of the history of Australian film production, and proposes that the AFI played an important role in promoting modernist film practice, and the Australian film revival, through its management of the EFTF.' (Editor's abstract)
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From Bit Part to Main Stage
2009
single work
criticism
— Appears in: The Australian , 15 January 2009; (p. 8) -
y
Not Quite Hollywood : The Wild, Untold Story of Ozploitation!
Collingwood
:
Madman Entertainment
,
2008
Z1636275
2008
single work
criticism
(taught in 1 units)
Not Quite Hollywood is the story of Ozploitation.
More explicit, violent and energetic than anything out of Hollywood, Aussie genre movies such as Alvin Purple, The Man From Hong Kong, Patrick, Mad Max and Turkey Shoot presented a unique take on established cinematic conventions.
In England, Italy and the grindhouses and Drive-ins of North America, audiences applauded our homegrown marauding revheads with their brutish cars; our sprnky well-stacked heroines and our stunts - unparalleled in their quality and extreme danger!
Busting with outrageous anecdotes, trivia and graphic poster art - and including isights from key cast, crew and fans - including Quentin Tarantino - this is the wild, untold story of an era when Aussie cinema got its gear off and showed the world a full-frontal explosion of boobs, pubes, tubes...and even a little kung fu!
-
David Williamson : Plays into Films
1981
single work
criticism
— Appears in: Cinema Papers , no. 32 1981; (p. 123-127) 'What happens to a playwright's style when he turnes scriptwriter and adapts his own works. David Williamson has written the screenplays for four film adaptations, but they were directed by three people who interpreted the elements of his style quite differently.' (Cecilia Rice). -
Dave Jones Talks with David Williamson
From a 'Cinema Papers' Interview
Dave Jones
(interviewer),
1974
single work
criticism
interview
— Appears in: Cinema Papers , January 1974; (p. 6-9) Five Plays for Stage, Radio and Television 1977; (p. 143-146)
-
From Bit Part to Main Stage
2009
single work
criticism
— Appears in: The Australian , 15 January 2009; (p. 8) -
y
Not Quite Hollywood : The Wild, Untold Story of Ozploitation!
Collingwood
:
Madman Entertainment
,
2008
Z1636275
2008
single work
criticism
(taught in 1 units)
Not Quite Hollywood is the story of Ozploitation.
More explicit, violent and energetic than anything out of Hollywood, Aussie genre movies such as Alvin Purple, The Man From Hong Kong, Patrick, Mad Max and Turkey Shoot presented a unique take on established cinematic conventions.
In England, Italy and the grindhouses and Drive-ins of North America, audiences applauded our homegrown marauding revheads with their brutish cars; our sprnky well-stacked heroines and our stunts - unparalleled in their quality and extreme danger!
Busting with outrageous anecdotes, trivia and graphic poster art - and including isights from key cast, crew and fans - including Quentin Tarantino - this is the wild, untold story of an era when Aussie cinema got its gear off and showed the world a full-frontal explosion of boobs, pubes, tubes...and even a little kung fu!
-
Passionate Amateurs : The Experimental Film and Television Fund and Modernist Film Practice in Australia
2011
single work
criticism
— Appears in: Studies in Australasian Cinema , 24 August vol. 5 no. 2 2011; (p. 171-183) 'Most histories of the dynamism of the Australian film industry in the 1970s explore feature films, but a vital part of the creativity and energy of the revival occurred in the non-feature sector. A significant site of experimentation and originality in form, content and technique was the Experimental Film and Television Fund (EFTF). From its inception in 1970, The Australian Film Institute (AFI) managed the fund until 1977 when the Australian Film Commission (AFC) assumed control of it. Drawing on a series of interviews with key players involved in the fund during the AFI's tenure, and research for the book, Shining a Light: 50 Years of the Australian Film Institute (French and Poole 2009), this article traces this significant period of the history of Australian film production, and proposes that the AFI played an important role in promoting modernist film practice, and the Australian film revival, through its management of the EFTF.' (Editor's abstract)
-
David Williamson : Plays into Films
1981
single work
criticism
— Appears in: Cinema Papers , no. 32 1981; (p. 123-127) 'What happens to a playwright's style when he turnes scriptwriter and adapts his own works. David Williamson has written the screenplays for four film adaptations, but they were directed by three people who interpreted the elements of his style quite differently.' (Cecilia Rice). -
Dave Jones Talks with David Williamson
From a 'Cinema Papers' Interview
Dave Jones
(interviewer),
1974
single work
criticism
interview
— Appears in: Cinema Papers , January 1974; (p. 6-9) Five Plays for Stage, Radio and Television 1977; (p. 143-146)
