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AbstractHistoryArchive Description
For thirty-five years, Bubby's entire knowledge of the universe has stopped at the walls of an inner-city, two-room slum. He knows only the existence of himself and his mother and spends each day playing with cockroaches and a feral cat all the while believing (as his mother has told him) that Jesus is watching his every move. Then one day his father comes home, starting a sequence of events that leads Bubby to kill his cat, his father, and his mother. Bubby then ventures outside, and suddenly life becomes very complicated.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Dane Millerd : The Films That Changed My Life
2017
single work
column
— Appears in: FilmInk , 29 May 2017; -
Armchair Travellers
2015
single work
column
— Appears in: The Courier-Mail , 14 November 2015; (p. 16) -
Better Check Out This Bad Boy
2015
single work
column
— Appears in: The Advertiser , 23 September 2015; (p. 23) -
From Barry McKenzie to Priscilla : The Evolution of the Aussie Comedy Hero
2015
single work
column
— Appears in: The Guardian Australia , 12 August 2015; -
Rumblings from Australia's Deep South : Tasmanian Gothic On-Screen
2011
single work
criticism
— Appears in: Studies in Australasian Cinema , 6 April vol. 5 no. 1 2011; (p. 71-80) 'This article examines the current cinematic attention to Tasmania and its stories, with particular attention paid to the Gothic mode. 'Tasmanian Gothic' has become a by-word for the unsettling combination of Tasmania's colonial histories and its harsh landscapes in literature, but its cinematic counterpart has virtually been ignored. It is suggested that Tasmania is experiencing a renaissance on the big screen and it is the Gothic that appears to be the most dominant mode through which it is pictured. The article then charts a history of local Tasmanian Gothic cinematic production, a hybrid vision that tends towards a combination of stylistic, thematic, historical and geographic elements. Tasmanian Gothic cinema refers not simply to productions by Tasmanian film-makers, but to the broader on-screen representation of the island, its culture and histories by a range of local, interstate and international crews. As this article suggests, Gothic cinematic representations of Tasmania are yoked by a number of persistent concerns that act in dialogue with the unique cultural and geographic positioning of Australia's only island state.' (Author's abstract)
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A Look at Ourselves
1994
single work
review
— Appears in: The Sunday Age , 24 July 1994; (p. 6)
— Review of The Sum of Us 1994 single work film/TV ; Bad Boy Bubby 1995 single work film/TV -
Family Values I
1994
single work
review
— Appears in: Eureka Street , September vol. 4 no. 7 1994; (p. 55)
— Review of Bad Boy Bubby 1995 single work film/TV -
Bold and Beautiful
1994
single work
review
— Appears in: The Sunday Telegraph , 24 July 1994; (p. 149)
— Review of Bad Boy Bubby 1995 single work film/TV -
`Bad Boy Buddy' Close to Perfect
1994
single work
review
— Appears in: The Canberra Times , 3 August 1994; (p. 32)
— Review of Bad Boy Bubby 1995 single work film/TV -
Bad Boy's Getting of Wisdom
1994
single work
review
— Appears in: The Weekend Australian , 30-31 July 1994; (p. rev 12)
— Review of Bad Boy Bubby 1995 single work film/TV -
y
Dutch Tilt, Aussie Auteur : The Films of Rolf de Heer
Saarbrucken
:
VDM Verlag
,
2009
Z1786072
2009
single work
criticism
'Dutch Tilt, Aussie Auteur: The Films of Rolf de Heer"is an auteur analysis of the twelve feature films directed (and mostly written and produced) by Dutch-born Australian director, Rolf de Heer. From his debut feature film after graduating from the Australian Film, Television and Radio School, the children's story about the restoration of a Tiger Moth biplane, Tail of a Tiger (1984) to his breakout cult sensation Bad Boy Bubby (1993) which "tore Venice [Film Festival] apart" to the first Aboriginal Australian language film Ten Canoes (2006) which scooped the pool at the Australian Film Institute awards, de Heer has consistently proven himself unpredictable. This analysis of his films, however, suggests that Australia's most innovative film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, his 'Dutch tilt' is very much not Hollywood, but is nevertheless representative of a typically Australian world-view.' (Publisher's blurb)
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On Popular Epicurianism : Relationships of Theme and Style in 'Harold and Maude' and 'Bad Boy Bubby'
2010
single work
criticism
— Appears in: Literature and Aesthetics , December vol. 20 no. 2 2010; (p. 168-179) 'To what extent can art transmit didactic content, to what extent can it teach? Is there an aesthetic relationship between a style of art and a lesson conveyed? In this paper I would like to look at two examples of art that go towards answering this question. The learning that I wish to examine focuses on an Epicurean content which, because of its lasting radical nature, speaks strongly in films that tend to be comprehended much more as "cult" than mainstream. After a brief discussion of themes arising from a two thousand year old legacy of Epicurean thought, I will trace some influences on two fascinating films that borrow ideas from this philosophical school for particular purposes: Hal Ashby's Harold and Maude 1971 and Rolf de Heer's Bad Boy Bubby, 1993. This paper is not an overall review of these films, but an examination of their philosophical content in this aspect' Source: The author. -
Gothic Definitions : The New Australian "Cinema of Horrors"
2011
single work
criticism
— Appears in: Antipodes , June vol. 25 no. 1 2011; (p. 91-97) This paper examines ‘ the pervasive presence of horror materials, in both thematic and stylistic terms, within the Australian feature film industry from its re-establishment at the end of the 1960s to the present.’ (p. 91) -
Unsuitable Material
2010
single work
criticism
— Appears in: Kill Your Darlings , October no. 3 2010; (p. 55-59) Ben Kooyman writes on the fate of R-Rated Films -
Some Films of the 90s
2000
single work
criticism
— Appears in: Senses of Cinema , January no. 2 2000;
Awards
- 1994 winner New South Wales Premier's Literary Awards — Betty Roland Prize for Scriptwriting
- 1994 won Australian Film Institute Awards — Best Screenplay, Original
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