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Call No: 735.2 (93) ASH
Author: Ashton, Romana
Source: AT
Place: Queensland
PubDate: 2005
PhysDes: 317 p. ; 30 cm
Subject: HORROR FILMS. AUSTRALIA; HORROR FILMS. NEW ZEALAND; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); PIANO, THE (AT, Jane Campion, 1993); DOGS IN SPACE (AT, Richard Lowenstein, 1986); BAD BOY BUBBY (AT, Rolf de Heer, 1993); NIGHT THE PROWLER, THE (AT, Jim Sharman, 1978); HEAVENLY CREATURES (NZ, Peter Jackson, 1994); WAKE IN FRIGHT (AT, Ted Kotcheff, 1971); SUMMERFIELD (AT, Ken Hannam, 1977); SHAME (AT, Steve Jodrell, 1988); MAD MAX (AT, George Miller, 1979); MAD MAX II (AT, George Miller, 1981); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974)
Summary: "Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheffs Wake in Fright (1971) to Peter Jacksons Heavenly Creatures (1994). Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema. In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility. In its conclusion, the study finds that S2Antipodean Gothic cinemaS3, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms. " - ABSTRACT
Notes: Thesis (Doctor of Philosophy) - Central Queensland University: School of Humanities - Faculty of Arts, Humanities and Education, December 2005; Bibliography: leaves 299-314 ; filmography: leaves 315-318 ; telegraphy: leaf 319; We have two copies of this Thesis - they are both filed at 735.2 (93) ASH and are identical. One is labelled 'copy 1' and the other 'copy 2'
Contents: -- Part one: Theorizing the (postmodern) gothic in Antipodean cinema -- 1. A gothic/postmodern poetics: two convergent models. -- 2. Antipodean Gothic/(Proto)-postmodern connections: the European unconscious and the cultural construction of the Antipodes. -- 3. Antipodean cinema: an uneasy background -- Part two: analyzing the (postmodern) gothic in Antipodean cinema. -- 4. Anitpodean ccolonial gothic: 'Picnic at Hanging Rock' and 'The Piano'. -- 5. Anitpodean urban gothic: 'Dogs in Space' and 'Bad Boy Bubby'. -- 6. Antipodean surburban gothic: -- 'The Night the Prowler' and 'Heavenly Creatures'. -- 7. Antipodean rural gothic: 'Wake in Fright', 'Summerfield', and 'Shame'. -- 8. Antipodean sci-fi car crash films and the gothic: 'The Cars that Ate Paris', 'Mad Max', and 'Mad Max - The Road Warrior'. -- Conclusion -- Bibliography -- Filmography -- Teleography.
ID2: 290

Call No: 735.2 (94) SHE
Author: Shelley, Peter
Source: US/UK
Place: Jefferson, North Carolina, and London
Publisher: McFarland & Company Inc
PubDate: c2012
PhysDes: vi, 320 p. : ill. ; 26 cm
Subject: HORROR FILMS; HORROR FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; NIGHT OF FEAR (AT, Terry Bourke, 1973); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); INN OF THE DAMNED (AT, Terry Bourke, 1974); END PLAY (AT, Tim Burstall, 1975); LAST WAVE, THE (AT, Peter Weir, 1977); LONG WEEKEND, THE (AT, Colin Eggleston, 1979); PATRICK (AT, Richard Franklin, 1978); SNAPSHOT (AT, Simon Wincer, 1978); THIRST (AT, Rod Hardy, 1979); NIGHTMARES (AT, John Lamond, 1980); ALISON'S BIRTHDAY (AT, Ian Coughlin, 1979); LADY STAY DEAD (AT, Terry Bourke, 1981); ROADGAMES (AT, Richard Franklin, 1981); SURVIVOR, THE (AT, David Hemmings, 1981); NEXT OF KIN (AT, Tony Williams, 1982); TURKEY SHOOT (AT, Brian Trenchard-Smith, 1981); INNOCENT PREY (AT, Colin Eggleston, 1984); RAZORBACK (AT, Russell Mulcahy, 1984); CASSANDRA (AT, Colin Eggleston, 1987); DARK AGE (AT/US, Arch Nicholson, 1988); FAIR GAME (AT, Mario Andreacchio, 1986); CONTAGION (AT, Karl Zwicky, 1987); CONTAGION (AT, Karl Zwicky, 1988); OUTBACK VAMPIRES (AT, Colin Eggleston, 1987); ZOMBIE BRIGADE (AT, Carmelo Musca, 1988); CELIA (AT, Ann Turner, 1988); CELIA (AT, Anne Turner, 1988); DREAMING, THE (AT, Mario Andreacchio, 1988); HOUSEBOAT HORROR (AT, Ollie Martin, [In prod], 1987); KADAICHA (AT, James Bogle, 1988); OUT OF THE BODY (AT, Brian Trenchard-Smith, 1988); 13TH FLOOR, THE (AT, Chris Roache, 1989); BLOODMOON (AT, Alec Mills, 1990); BODY MELT (AT, Philip Brophy, 1992); BODY MELT (AT, Philip Brophy, 1993); ENCOUNTERS (AT, Murray Fahey, 1994); KOMODO (US/AT, Michael Lantieri, 1999); CUT (AT, Kimble Rendall, 2000); H.P. LOVECRAFT'S CTHULHU (AT, Damian Heffernan, 2000); GHOST SHIP, THE (US, Steve Beck, 2002); CUBBYHOUSE (AT, Murray Fahey, 2001); QUEEN OF THE DAMNED, THE (US/AT, Michael Rymer, 2002); DARKNESS FALLS (US, Jonathon Liebesman, 2003); LOST THINGS (AT/CN, Martin Murphy, 2003); RAZOR EATERS (AT, Shannon Young, 2003); SUBTERANO (AT/GG, Esben Storm, 2002); UNDEAD (AT, Michael Spierig & Peter Spierig, 2002); MAN-THING (US/AT, Brett Leonard, 2005); SAFETY IN NUMBERS (AT, David Douglas, 2005); WOLF CREEK (AT, Greg McLean, 2005); LIKE MINDS (AT UK, Gregory J Read, 2006); SEE NO EVIL (AT, Gregory Dark, 2006); VOODOO LAGOON (AT/UK, Nicholas Cohen, 2006); WATCH ME (AT, Melanie Ansley, 2006); BLACK WATER (AT, David Nerlich & Andrew Traucki, 2007); ROGUE (AT, Greg Mclean, 2007); STORM WARNING (AT, Jamie Blanks, 2007); ACOLYTES (AT, Jon Hewitt, 2007); DYING BREED (AT, Jody Dwyer, 2008); GATES OF HELL, THE (AT, Kelly Dolen, 2008); I KNOW HOW MANY RUNS YOU SCORED LAST SUMMER (AT, Stacy Edmonds & Doug Turner, 2008); LONG WEEKEND (AT, Jamie Blanks, 2009); RUINS, THE (AT/US, Carter Smith, 2008); COFFIN ROCK (UK/AT, Rupert Glasson, 2009); CRUSH (AT, John V. Soto & Jeff Gerritsen, 2009); DAMNED BY DAWN (AT, Brett Anstey, 2009); DAYBREAKERS (US, Michael Spierig and Peter Spierig, 2008); DAYBREAKERS (US, Michael Spierig, Peter Spierig, 2008); FAMILY DEMONS (AT, Ursula Dabrowsky, 2009); HORSEMAN, THE (AT, Steven Kastrissios, 2008); LOVED ONES, THE (AT, Sean Byrne, 2009); PREY (AT, Oscar D'Rocceter, 2007); 7TH HUNT, THE (AT, J.D. Cohen, 2009); STORAGE (AT, Michael Craft, 2009); TRIANGLE (AT/UK Christpher Smith, 2009); CLINIC, THE (AT, James Rabbitts, 2010); NEEDLE (AT, John V Soto, 2010); REEF, THE (AT, Andrew Traucki, 2010); ROAD TRAIN (AT, Dean Francis, 2010); SLAUGHTERED (AT, Kate Glover, 2010)
Summary: "This pioneering work provides in-depth coverage of 76 horror films produced in Australia, where serial killers, carnivorous animals, mutants, zombies, vampires and evil spirits all receive the "antipodean" cinematic treatment unique to the Land Down Under. Titles covered were released between 1973 and 2010, a period coinciding with the revival of the long-dormant Australian film industry in the early 1970s, and continuing into the second wave of genre production spurred by the international success of the 2005 chiller Wolf Creek, The Cars That Ate Paris, The Last Wave, Roadgames, Razorback, Outback Vampires, Queen of the Damned, Black Water, and The Reef are among the titles represented. Each film is covered in a chapter that includes a cast and credits list, release information, contemporary reviews and DVD availability, as well as a synopsis and in-depth notes about the story, filmmaking techniques, acting performances, recurring themes and motifs, and overall effectiveness of the film as a work of horror. ' -- BOOK BLURB
Notes: 'VOYAGE INTO FEAR (AT, Murray Fahey, 1993) listed here as (aka) ENCOUNTERS (AT, Murray Fahey, 1994); HELLION: THE DEVIL'S PLAYGROUND listed here as (aka) CUBBYHOUSE (AT, Murray Fahey, 2001); NATURE'S GRAVE listed here as (aka) LONG WEEKEND (AT, Jamie Blanks, 2009); Includes bibliographical references and index
ISBN: 9780786461677
Contents: -- acknowledgments -- preface -- introduction -- the films -- bibliography -- index --

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity; Stills
Subject: CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 16 photographs : b&w ; 13 x 18 cm.- 21 x 26 cm.
Subject: MEILLON, JOHN; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974)
Summary: Sixteen black and white photographs relating to the film The cars that ate Paris
Notes: Contains some duplicates. Four of these images have been donated to the Collection by Brian McFarlane

Call No: 71(94) HAL
Author: Hall, Sandra, 1942
Place: Adelaide
Publisher: Rigby
PubDate: 1985
PhysDes: 200 p. : ill., ports. ; 22 cm
Subject: AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; GENRES; GENRES. AUSTRALIA; HISTORY OF CINEMA; HISTORY OF CINEMA. AUSTRALIA; ROAD MOVIES; ROAD MOVIES. AUSTRALIA; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); BARRY MCKENZIE HOLDS HIS OWN (AT, Bruce Beresford, 1974); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); DON'S PARTY (AT, Bruce Beresford, 1976); CLUB, THE (AT, Bruce Beresford, 1980); PUBERTY BLUES (AT, Bruce Beresford, 1981); BREAKER MORANT (AT, Bruce Beresford, 1980); GALLIPOLI (AT, Peter Weir, 1981); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982); CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978); MONKEY GRIP (AT, Ken Cameron, 1982); WAKE IN FRIGHT (AT, Ted Kotcheff, 1971); RETURN OF CAPTAIN INVINCIBLE, THE (AT, Philippe Mora, 1982); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); STORM BOY (AT, Henri Safran, 1976); PHAR LAP (AT, Simon Wincer, 1983); MAD DOG MORGAN (AT, Philippe Mora, 1976); SQUIZZY TAYLOR (AT, Kevin Dobson, 1982); MAN FROM HONG KONG, THE (AT/HK, Brian Trenchard-Smith, 1975); MAD MAX (AT, George Miller, 1979); MAD MAX II (AT, George Miller, 1981); RAZORBACK (AT, Russell Mulcahy, 1984)
ISBN: 0727020102 : $16.95 Aust
LON: anb72702010; 3401972

Call No: 81WEI BLI
Author: Bliss, Michael, 1947
Place: Carbondale, Ill.
Publisher: Southern Illinois University Press
PubDate: c2000
PhysDes: x, 242 p. : ill. ; 23 cm
Subject: WEIR, PETER; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); DEAD POETS SOCIETY (US, Peter Weir, 1989); FEARLESS (US, Peter Weir, 1993); GALLIPOLI (AT, Peter Weir, 1981); LAST WAVE, THE (AT, Peter Weir, 1977); MOSQUITO COAST, THE (US, Peter Weir, 1986); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); PLUMBER, THE (AT, Peter Weir, 1980); TRUMAN SHOW, THE (US, Peter Weir, 1998); WITNESS (US, Peter Weir, 1985); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982)
Notes: Filmography: p. 195-200; Includes bibliographical references (201-232) and index
ISBN: 0809322846 (alk. paper)
LON: 20076199

Call No: 754.11 SAR
Author: Sargeant, Jack; Watson, Stephanie
Place: London
Publisher: Creation
PubDate: 1999
PhysDes: 256 p. : ill. ; 25 cm
Series: Creation cinema collection ; 15
Subject: ROAD MOVIES; WESTERNS; MOTORCYCLE FILMS; HORROR FILMS; VAMPIRE FILMS; SCIENCE-FICTION FILMS; Wenders, Wim; LYNCH, DAVID; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); AGUIRRE, DER ZORN GOTTES (GW, Werner Herzog, 1972); ALICE IN DEN STADTEN (GW, Wim Wenders, 1973); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BACKROADS (AT, Philip Noyce, 1977); BADLANDS (US, Terrence Malick, 1973); BLUE VELVET (US, David Lynch, 1986); BONNIE AND CLYDE (US, Arthur Penn, 1967); BUTTERFLY KISS (UK, Michael Winterbottom, 1995); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); CRASH (CN, David Cronenberg, 1996); DELIVERANCE (US, John Boorman, 1972); EASY RIDER (US, Dennis Hopper, 1969); EL TOPO (MX, Alexando Jodorowsky, 1971); FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); GALLIVANT (UK, Andrew Kotting, 1996); GUN CRAZY (US, Joseph H. Lewis, 1949); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); KALIFORNIA (US, Dominic Sena, 1993); IM LAUF DER ZEIT (GW, Wim Wenders, 1976); KISS OR KILL (AT, Bill Bennett, 1997); HEAVEN'S BURNING (AT, Craig Lahiff, 1997); JETEE, LA (FR, Chris Marker, 1963); LOST HIGHWAY (US, David Lynch, 1996); MAD MAX [...] (AT, 1979-85); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); NATURAL BORN KILLERS (US, Oliver Stone, 1994); NEAR DARK (US, Kathryn Bigelow, 1987); NIGHT OF THE HUNTER (US, Charles Laughton, 1955); F.J. HOLDEN, THE (AT, Michael Thornhill, 1977); THELMA & LOUISE (US, Ridley Scott, 1991); THEY LIVE BY NIGHT (US, Nicholas Ray, 1949); TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR (US, Beeban Kidron, 1995); TRUE ROMANCE (US, Tony Scott, 1993); TWO LANE BLACKTOP (US, Monte Hellman, 1971); JOHN CARPENTER'S VAMPIRES (US, John Carpenter, 1998); VANISHING POINT (UK, Richard C. Sarafian, 1971); WALKABOUT (UK, Nicolas Roeg, 1971); WEEK-END (FR/IT, Jean-Luc Godard, 1968); WILD AT HEART (US, David Lynch, 1990); WILD BUNCH, THE (US, Sam Peckinpah, 1969); HIMMEL UBER BERLIN, DER (GW/FR, Wim Wenders, 1987); WIZARD OF OZ, THE (US, Victor Fleming, 1939)
ISBN: 1871592682(pbk.) : ª14.95
LON: 20894332

Call No: 81WEI PET
Author: Tibbetts, John C; Thomson, David
Source: US
Place: Jackson, Mississippi
Publisher: University Press of Mississippi
PubDate: 2014
PhysDes: xlii, 261 pages ; 24 cm
Series: Conversations with filmmakers series
Subject: ADAPTATIONS; AUTEUR THEORY; DIRECTORS; EDITING; INTERVIEWING; REALITY TV; WAR IN FILMS; WEIR, PETER; BOYD, RUSSELL; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); DEAD POETS SOCIETY (US, Peter Weir, 1989); FEARLESS (US, Peter Weir, 1993); GALLIPOLI (AT, Peter Weir, 1981); GREEN CARD (AT/FR, Peter Weir, 1990); HOMESDALE (AT, Peter Weir, 1971); LAST WAVE, THE (AT, Peter Weir, 1977); MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (US, Peter Weir, 2003); MOSQUITO COAST, THE (US, Peter Weir, 1986); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); PLUMBER, THE (AT, Peter Weir, 1980); TRUMAN SHOW, THE (US, Peter Weir, 1998); WAY BACK, THE (US, Peter Weir, 2010); WITNESS (US, Peter Weir, 1985); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982)
Summary: 'Peter Weir: Interviews' is the first volume of interviews to be published on the esteemed Australian director. Although Weir (b. 1944) has acquired a reputation of being guarded about his life and work, these interviews by archivists, journalists, historians, and colleagues reveal him to be a most amiable and forthcoming subject. [...] Interviews discuss Weir's diverse and impressive range of work - his earlier films 'Picnic at Hanging Rock', 'The Last Wave', 'Gallipoli', and 'The Year of Living Dangerously', as well as Academy Award-nominated 'Witness', 'Dead Poets Society', 'Green Card', 'The Truman Show', and 'Master and Commander'. This book confirms the trajectory of Weir's life and work parallels and embodies Australia's quest to define and express a historical and cultural identity." -- BOOK BLURB
Notes: Includes chronology and filmography for Peter Weir's work; includes index
ISBN: 9781617038976
Contents: Foreword by David Thomson -- Introduction: "unmet friends": encounters with Peter Weir -- Chronology -- Filmography -- Peter Weir: reclaiming a Sydney boyhood: John C. Tibbetts / 2012 -- Peter Weir: snapshots in time: John C. Tibbetts / 2012 -- Peter Weir: early days: Sue Mathews / 1985 -- Small screens and big screens: television and film: Graham Shirley / 1991 -- The first features: 'The Cars That Ate Paris: Tom Hogan / 1973 -- "Weir, weird, and weirder still": the riddle of Hanging Rock: David Castell / 1976 -- Years of living dangerously: 'The Last Wave', 'The Plumber', 'Gallipoli', 'The Year of Living Dangerously': Sue Mathews / 1985 -- Interview with Peter Weir: Luisa Ceretto and Andrea Morini / 1999 -- Peter Weir: master of unease: Terry Dowling and George Mannix / 1980 -- Towards the center: Tom Ryan and Brian McFarlane / 1981 -- The swizzle stick: Peter Weir and Hollywood genres: Jonathan Rayner / 1993 -- The iceman cometh: 'Mosquito Coast': Digby Diehl / 1986 -- 'Fearless': the poetry of apocalypse: John C. Tibbetts / 1993 -- Poetry man: 'Dead Poets Society': Nancy Griffin -- Weir's worlds: 'The Truman Show': Virginia Campbell -- This is your life: 'The Truman Show': Eric Rudolph / 1998 -- He's fought his own way back to work: Terence Rafferty / 2011 -- "I am your eyes": interviews with Russell Boyd, ACS, ASC: John C. Tibbetts / 2012 -- Appendix: Notes on 'Gallipoli -- Interview with executive producer Francis O'Brien -- Peter Weir's Anzac lecture -- additional sources -- index

Call No: 792 PRO
Author: McFarlane, Peter, 1940-, comp
Place: Adelaide
Publisher: Rigby
PubDate: 1977
PhysDes: viii,133p. : ill. ; 23cm
Subject: PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); CADDIE (AT, Donald Crombie, 1976); STORM BOY (AT, Henri Safran, 1976); DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); FOURTH WISH, THE (AT, Don Chaffey, 1976)
ISBN: 072700560X : $4.95 Aust
LON: 1361887

Call No: 754.11 WIL
Author: Williams, Mark
Place: New York
Publisher: Proteus Publishing Co.
PubDate: 1982
PhysDes: 127 p. : ill. ; 27 cm
Subject: ROAD MOVIES; BACKROADS (AT, Philip Noyce, 1977); BADLANDS (US, Terrence Malick, 1973); BONNIE AND CLYDE (US, Arthur Penn, 1967); CAR, THE (US, Elliott Silverstein, 1977); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); DRIVER, THE (US, Walter Hill, 1978); DUEL (US, Steven Spielberg, 1972); EASY RIDER (US, Dennis Hopper, 1969); LAST AMERICAN HERO, THE (US, Lamont Johnson, 1973); MAD MAX [...] (AT, 1979-85); ROAD MOVIE (US, Joseph Strick, 1973); SUGARLAND EXPRESS, THE (US, Steven Spielberg, 1974); SALAIRE DE LA PEUR, LE (FR/IT, Henri-Georges Clouzot, 1953); THUNDERBOLT AND LIGHTFOOT (US, Michael Cimino, 1974); TWO-LANE BLACKTOP (US, Monte Hellman, 1971); VANISHING POINT (UK, Richard C. Sarafian, 1971); WILD ANGELS, THE (US, Roger Corman, 1966)
ISBN: 0862760542
LON: abn89130147; 6396315