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Author: Rayner, Jonathan
PhysDes: Article
Subject: ADAPTATIONS. AUSTRALIA; LAWRENCE, RAY; BLISS (AT, Ray Lawrence, 1985); LANTANA (AT, Ray Lawrence, 2001); JINDABYNE (AT, Ray Lawrence, 2005)
Summary: This article offers a reconsideration of the films and career of Ray Lawrence, a critically acclaimed Australian director whose most recent film Jindabynewas a national and international successes in 2006. Although to date his output consists of just three feature films completed since 1985, Lawrence's work can be seen to embody, unite and typify several disparate ideals, debates and tendencies present within Australian film-making over the past twenty years. -- Abstract

Call No: 71(94) STR
Author: Stratton, David
Place: Chippendale, N.S.W.
Publisher: Pan Macmillan
PubDate: 1990
PhysDes: xiii, 465 p. : ill. ; 25 cm
Subject: FILMOGRAPHIES. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA; AUSTRALIA; TAXES. AUSTRALIA; MILLER, GEORGE; LAWRENCE, RAY; COX, PAUL; BENNETT, BILL; DOBROWOLSKA, GOSIA; PARKER, DAVID; SALVAT, KEITH; SCHEPISI, FRED; SCHULTZ, CARL; SULLIVAN, ERROL; TASS, NADIA; TURKIEWICZ, SOPHIA; WEIR, PETER; YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982); TIME GUARDIAN, THE (AT, Brian Hannant, 1987); SILVER CITY (AT, Sophia Turkiewicz, 1984); MALCOLM (AT, Nadia Tass, 1986); BURKE AND WILLS (AT, Graeme Clifford, 1985); BLISS (AT, Ray Lawrence, 1985)
Summary: "Film? Or avocados? During the heady years of tax incentives and 10BA it didn't much matter to Australian investors where they put their surplus funds. For the Australian film industry, booming after the creative revival of the 1970s, the next decade became one of confusion and controversy. In THE AVOCADO PLANTATION, David Stratton gives us a comprehensive look at the making of 270 film features between 1980 and 1990. He discusses the big name attractions - GALLIPOLI, THE MAN FROM SNOWY RIVER, MAD MAX 2, CROCODILE DUNDEE, MAN OF FLOWERS, SWEETIE - and a host of lesser known films. Adventure films, horror films, love stories, comedies, they're all here: the smash hits, the turkets and the quality movies appreciated by discerning audiences. Stratton tells the behind-the-scenes stories of how the films were made - or in some casxes, un-made. He talks with directors such as Peter Weir, George Miller and Paul Cox, as well as producers, writers, actors, and crew members. Their reflections and revelations form a major part of THE AVOCADO PLANTATION." [Taken from book jacket]
Notes: Includes index
ISBN: 0732902509
LON: 7520974
Donation: Simon Wincer
ID2: 255

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BLISS (US, Lance Young, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BLISS (AT, Ray Lawrence, 1985)

Author: Cordaiy, Hunter
PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)
Summary: Review

Author: Buckley, Tony
PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)
Summary: Interview

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: BLISS (US, Mike Cahill, 2021)

PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)

PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)

PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)
Summary: "Bliss" named best Australian film by Sydney Film Critics Circle. All nominations and winners listed

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: BLISS, DIANA

Subject: BLISS (AT, Ray Lawrence, 1985); COCA-COLA KID, THE (AT, Dusan Makavejev, 1985); CANNES FILM FESTIVAL; INDUSTRY, FILM. AUSTRALIA
Summary: Report on 'Bliss' and 'The Coca Cola Kid' screening at Cannes

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 5 photographs : b&w ; 11 x 17 cm - 20 x 25 cm + 1 transparency : col. ; 120 mm
Subject: DE TELIGA, SARAH; JONES, HELEN; OTTO, BARRY; BUCHANAN, MILES; CURRAN, LYNETTE; CARIDES, GIA; BLISS (AT, Ray Lawrence, 1985)
Summary: Five black and white photographs and one small colour transparency relating to the film Bliss

Call No: 79BLI CAR
Author: Carey, Peter, 1943; Lawrence, Ray
Place: St. Lucia, Qld.
Publisher: University of Queensland Press
PubDate: 1986, c1985
PhysDes: 142 p. : ill., port. ; 20 cm
Subject: BLISS (AT, Ray Lawrence, 1985)
Notes: First published: London : Faber and Faber, 1986
ISBN: 0702219096 : $12.95 Aust
LON: anb70221909; 4794229

Author: McGregor, Alex
PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)
Summary: Annual review of cinematography

Author: Quinlavan, Beth
PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)
Summary: part 2 of survey on film finanicers

PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity; Press kit; Stills
Subject: FORDS ON WATER (UK, Barry Bliss, 1983)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FOREST OF BLISS (US, Robert Gardner, 1985)

Author: Maddox, Garry
PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)
Summary: on the making of "Bliss"

Call No: PERSONALITY STILL
Source: AT
PhysDes: 1 photograph : b&w ; 11 X 17 cm.
Subject: JONES, HELEN; BLISS (AT, Ray Lawrence, 1985)
Summary: Head shot of Helen Jones looking at a candle
Notes: Title label on the back reads 'Honey sits alone'

PhysDes: Serial
Subject: INDUSTRY, FILM. AUSTRALIA; AMERICAN FILM MARKET; MALCOLM (AT, Nadia Tass, 1986); BLISS (AT, Ray Lawrence, 1985); ARCHER (AT, Denny Lawrence, 1985); AUSTRALIAN DREAM (AT, Jack McKimmie, 1986); DEVIL IN THE FLESH (AT, Scott Murray, 1986); DOT AND KEETO (AT, Yoram Goss, 1986); FAIR GAME (AT, Mario Andreacchio, 1986); KANGAROO (AT, Tim Burstall, 1986); PERFECTIONIST, THE (AT, Chris Thomson, 1985); TWELFTH NIGHT (AT, Neil Armfield, 1986)
Summary: List of Australian productions screening at the American Film Market. Later pages include posters for MALCOM and BLISS.

Author: Dixon, Robert
PhysDes: Article
Subject: INDUSTRY, FILM. AUSTRALIA; CONSUMERISM IN FILMS; BLISS (AT, Ray Lawrence, 1985)
Summary: This article looks into the uncertain cultural politics of Ray Lawrence's 1985 film adaptation of Peter Carey's Bliss (1981) perhaps one reason for critical reticence about it to examine the functioning of the film as a critique of the options aesthetic, commercial and political within the inherited aesthetic force field of the period. The film is considered in two ways: first, with regard to the question of why Bliss has come to be regarded as a key film in the story of the Australian movies, as a kind of liberation point a leap away from naturalism and the historical realism of the new wave of the 1970s (Byrnes 2008); and second, with regard to its main theme, the satiric treatment of advertising, American consumerism and commodity culture. What lies at the heart of this is the complex relationship between representation and power, and this will be considered in terms of the paradox that Blisscriticizes consumerism while being aware of its own aspirations as a commercial feature film, and therefore a commodity. This is what is meant by the film's uncertain cultural politics: the paradox arises from the fact that cinema is both an artistic and a commercial medium; as a culture-industry, it seeks to criticize the commercial processes in which it is itself embedded. -- Abstract

PhysDes: Article
Subject: FORDS ON WATER (UK, Barry Bliss, 1983)
Summary: Short Review

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: TERMINAL BLISS (US, Jordan Alan, 1990)

PhysDes: Article
Subject: BLISS (AT, Ray Lawrence, 1985)

Call No: 721.210.4 VIS
CorpAuthor: Australian Film Institute
Edition: 1984
Place: Sydney
Publisher: Australian Film Institute
PubDate: 1984
PhysDes: 28 p. : illus. ; 21 cm
Subject: INDEPENDENT FILMS; CONFERENCES. AUSTRALIA; OUT (US, Eli Hollander, 1982); PROSTITUTE (UK, Tony Garnett, 1980); STATIONS (AT, Jackie McKimmie, 1983); THIS WOMAN IS NOT A CAR (AT, Margaret Dodd, 1982); CHAN IS MISSING (US, Wayne Wang, 1982); NIGHT OF SHADOWS (AT, Brian Thompson, 1983); ON GUARD (AT, Susan Lambert, 1984); GREETINGS FROM WOLLONGONG (AT, Mary Callaghan, 1982); GIRL'S OWN STORY, A (AT, Jane Campion, 1983); GHOST DANCE (UK/GW, Ken Mullen, 1983); IMPOSTORS (GW/US, Mark Rappaport, 1979); LAST NIGHT AT THE ALAMO (US, Eagle Pennell, 1983); BUCKEYE AND PINTO (AT, Phil Pinder, 1979); DOZENS, THE (US, Christine Dall and Randall Conrad, 1980); EVERY DAY, EVERY NIGHT (AT, Kathy Mueller, 1984); FORDS ON WATER (UK, Barry Bliss, 1983); KILLER OF SHEEP (US, Charles Burnett, 1978); SLOW MOVES (US, Jon Jost, 1984); ASHES AND EMBERS (US, Haile Gerima, 1982); JOE'S BED-STUY AND BARBERSHOP: WE CUT HEADS (US, Spike Lee, 1983); QUEENSLAND (AT, John Ruane, 1975); BROTHERS AND SISTERS (UK, Richard Woolley, 1980); KING BLANK (US, Michael Oblowitz, 1982); CAFE OF LOVE (AT, Jinks Dulhunty, 1982); EMERALD CITIES (US, Richard R. Schmidt, 1983); VOICE OVER (UK, Chris Monger, 1981); SHADOWPLAY (UK, Oliver Stapleton, 1980); EXITS (AT, Paul Davies & Pat Laughren & Carolyn Howard, 1980); FILLETING MACHINE, THE (UK, Murray Martin, 1981); OUTSIDE IN (UK/GW/NE, Stephen Dwoskin, 1981); PLAINS OF HEAVEN, THE (AT, Ian Pringle, 1982); SMITHEREENS (US, Susan Seidelman, 1982); GOING DOWN (AT, Haydn Keenan, 1982); RETURN OF THE SECAUCUS SEVEN (US, John Sayles, 1980); AGAINST THE GRAIN (AT, Tim Burns, 1980); SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983); WRONG SIDE OF THE ROAD (AT, Ned Lander, 1981); PURE S (AT, Bert Deling, 1976); GAL YOUNG UN (US, Victor Nunez, 1979); BURNING AN ILLUSION (UK, Menelik Shabazz, 1981); HEARTLAND (US, Richard Pearce, 1979); LOOKS AND SMILES (UK, Kenneth Loach, 1981)
Notes: Programme for a season of international independent films supporting the 'visions of independence' conference held in Sydney, 29 August - 1 September 1984.