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AbstractHistoryArchive Description
'Melbourne, 1978. A large group of young people share a dilapidated house in the inner-city suburb of Richmond. Sam sings in the rock group Dogs in Space. His girlfriend, Anna, works in a nursing home and has ambitions of becoming an airline stewardess. Tim plays electronics in Dogs in Space, and Luchio is studying for engineering exams. The house is frequented by dozens of friends and acquaintances who share a common interest in music. An unnamed teenage runaway moves in without anyone objecting. Sam and Anna's happy relationship begins to change when hard drugs enter their lives. Following another wild party at the house, tragedy strikes.' (Source: Screen Australia website)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
y
Urban Australia and Post-punk : Exploring Dogs in Space
David Nichols
(editor),
Sophie Perillo
(editor),
Cham
:
Palgrave Macmillan
,
2020
18831404
2020
anthology
criticism
'Richard Lowenstein’s 1986 masterpiece Dogs in Space was and remains controversial, divisive, compelling and inspirational. Made less than a decade after the events it is based on, using many of the people involved in those events as actors, the film explored Melbourne’s ‘postpunk’ counterculture of share houses, drugs and decadence. Amongst its ensemble cast was Michael Hutchence, one of the biggest music stars of the period, in his acting debut.
'This book is a collection of essays exploring the place, period and legacy of Dogs in Space, by people who were there or who have been affected by this remarkable film. The writers are musicians, actors and artists and also academics in heritage, history, urban planning, gender studies, geography, performance and music. This is an invaluable resource for anyone passionate about Australian film, society, culture, history, heritage, music and art.' (Publication summary) -
Richard Lowenstein Goes Underneath The Colours With Mystify : Michael Hutchence
2019
single work
column
— Appears in: FilmInk , 22 May 2019; -
Dog Days : The Making of Dogs in Space
2017
single work
column
— Appears in: FilmInk , 22 November 2017; -
Friday Essay: Dogs in Space, 30 Years on – a Once Maligned Film Comes of Age
2016
single work
column
— Appears in: The Conversation , 15 April 2016; 'A fairly unattractive bunch of bored and boring party givers, mindlessly driving around midnight streets waiting for pieces of Skylab to fall on them and searching for meaning in the TV test pattern, hardly makes for a riveting film experience.' (Source: The Conversation, 15 April 2016) -
Radiant Badlands
2013
single work
column
— Appears in: The Lifted Brow , September no. 19 2013; (p. 16-19) In Sydney I grew up with my parents' stories as the ghostly backbone of the city, the warmth of the vanished art and drug culture shimmering just out of reach in the laneways behind Oxford Street or somewhere in the sandstone prison walls of East Sydney Tech. A decaying Martin Sharp print, a wedding present from the artist, leaned up against the wall of my dad's shed; he would tell stories about taking me as an infant to visit Robert Klippel, who burst into tears when he heard my name. My mother would invoke her time spent in the hippy-era Greek Islands, tales complete with run-ins with Leonard Cohen as well as a man who was later arrested as part of the Manson Family Killings.
-
Untitled
2001
single work
review
— Appears in: Senses of Cinema , August no. 15 2001;
— Review of Dogs in Space 1986 single work film/TV -
Punks in Sharehouses Dogs in Space
2013
single work
review
— Appears in: The Lifted Brow , no. 17 2013; (p. 92-93)
— Review of Dogs in Space 1986 single work film/TV -
Dogs in Space
2009
single work
criticism
— Appears in: Senses of Cinema , no. 51 2009; -
Sharing, Not Caring : He Died With A Felafel In His Hand
2001
single work
criticism
— Appears in: Senses of Cinema , September-October no. 16 2001; -
Re-reading Indigenous Cinema : Criticism, White Liberal Guilt and Otherness
2013
single work
criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 27 no. 6 2013; (p. 763-769) 'In this paper, I will advance a critical perspective of some methodologies on appraising Indigenous films, in terms of their aesthetic as well as their cultural value. In doing this, I propose a cultural and textual approach that gives the films a context for which they can be critically understood. With a heavy emphasis on the political content of many Indigenous films, here I argue for a more critical pedagogical evaluation that considers the challenges of Indigenous films and problems that arise when we ignore to discuss them as ‘cinema’. Through surveying a number of recent Indigenous films, and the criticism that surrounds them, I concentrate on how they can be better used as texts to enhance the study of world cinema and cultural issues of Aboriginality.' (Author's abstract) -
Dogs in Space
2012
single work
essay
— Appears in: World Film Locations : Melbourne 2012; (p. 72-73) -
Radiant Badlands
2013
single work
column
— Appears in: The Lifted Brow , September no. 19 2013; (p. 16-19) In Sydney I grew up with my parents' stories as the ghostly backbone of the city, the warmth of the vanished art and drug culture shimmering just out of reach in the laneways behind Oxford Street or somewhere in the sandstone prison walls of East Sydney Tech. A decaying Martin Sharp print, a wedding present from the artist, leaned up against the wall of my dad's shed; he would tell stories about taking me as an infant to visit Robert Klippel, who burst into tears when he heard my name. My mother would invoke her time spent in the hippy-era Greek Islands, tales complete with run-ins with Leonard Cohen as well as a man who was later arrested as part of the Manson Family Killings.
Last amended 1 Oct 2014 13:44:43
Settings:
- Melbourne, Victoria,
- 1978
Influenced by:
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