book
Antipodean gothic cinema [manuscript] : a study of the (postmodern) Gothic in Australian and New Zealand film since the 1970s / by Romana Ashton Queensland: 2005.
Call No: 735.2 (93) ASHAuthor: Ashton, Romana Source: ATPlace: QueenslandPubDate: 2005PhysDes: 317 p. ; 30 cmSubject: 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. " - ABSTRACTNotes: 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
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journal article
The dark side of taste in Xpress (April-May 1987) p.9
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title clippings file
DOGS IN SPACE : (AT, Richard Lowenstein, 1986)
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journal article
Dogs in space in Cinema Paper (March 1987) vol.62 p.44-45
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book
Dogs in space : a film archive / Richard Lowenstein Ann Standish Helen Bandis Melbourne: Melbourne Books, 2019.
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dvd
Dogs in Space [DVD] [Northcote, Vic.]: Umbrella Entertainment, 2009.
Call No: D Dogs in SpaceEdition: 2 disc collectors editionSource: ATPlace: [Northcote, Vic.]Publisher: Umbrella EntertainmentPubDate: 2009PhysDes: 2 videodiscs (DVD) (107 min.) : sd., col. ; 4 3/4 in.Subject: DOGS IN SPACE (AT, Richard Lowenstein, 1986) Summary: Melbourne, 1979: Sam and his band, "Dogs in Space" live in a crazy world of fast music, fast living and fast food. Sam shares his decrepit house with a weird collection of punks, hippies, students and radicals. They sleep by day and party by night : a generation living on sex, drugs, rock 'n' roll and T.V. --Libraries Australia.Notes: "DAVID0835"
"2 disc collector's edition DVD with a digitally restored and re-graded widescreen transfer"--Container.
Originally released: Australia, 1986 by Central Park Films.
Censorship classification: MA 15+
In English. No subtitles.Contents: Disc 1: Feature ; Audio commentary, Original theatrical trailer, Director's cut trailer -- Disc 2: Featurette (94 mins), Making of 'Dogs in Space', Video clip, Interviews, Behind the scenes, stills gallery, short films: 'Pedestrian' and 'Punkline'.Technical Details: Region all ; PAL.Credits: Writen and directed by Richard Lowenstein; produced by Glenys Rowe.Standard Number: 3000000073407Performer: Michael Hutchence, Saskia Post.
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poster
[Dogs in space : poster] AT: 1986.
Call No: P DOGPlace: ATPubDate: 1986PhysDes: 1 poster : colour ; 70 x 34 cmSubject: DOGS IN SPACE (AT, Richard Lowenstein, 1986) Summary: Image: An out of focus image of the face of Michael Hutchence appearing from a dark background. Near the bottom of the poster are four facial shots enclosed in oval-shaped circles. The facial shots are of Saskia Post, Nique Needles, Deanna Bond, and Chris Haywood.Notes: Folds, creases and worn edges. On the lower right corner of the reverse side of the poster, there is a blue, underlined numeral: 60.
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still
[Dogs in space : stills file]
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journal article
R wars in Filmviews (Winter 1987) vol.32 iss.132 p.2-7
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journal article
Richard Lowenstein in Filmviews (Autumn 1987) vol.32 iss.131 p.2-7
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book
Second take : Australian film-makers talk / edited by Geoff Burton and Raffaele Caputo St Leonards, N.S.W.: Allen & Unwin, 1999.
Call No: 802.25(94) SECAuthor: Burton, Geoff ; Caputo, Raffaele Place: St Leonards, N.S.W.Publisher: Allen & UnwinPubDate: 1999PhysDes: x, 342 : ill. ; 23 cmSubject: DIRECTORS. AUSTRALIA ; PREVIEWS ; EALING STUDIOS ; FOX STUDIOS AUSTRALIA ; DUIGAN, JOHN ; WATT, HARRY ; ROWE, GLENYS ; MILLER, GEORGE ; CAMPION, JANE ; BERESFORD, BRUCE ; ARMSTRONG, GILLIAN ; FRANKLIN, RICHARD ; ROEG, NICOLAS ; ZUBRYCKI, TOM ; RUBBO, MICHAEL ; NOONAN, CHRIS ; BENNETT, BILL ; LOWENSTEIN, RICHARD ; HICKS, SCOTT ; SIRENS (AT/UK, John Duigan, 1994) ; YEAR MY VOICE BROKE, THE (AT, John Duigan, 1987) ; MAD MAX (AT, George Miller, 1979) ; BABE (AT, Chris Noonan, 1995) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; WALKABOUT (UK, Nicolas Roeg, 1971) ; KISS OR KILL (AT, Bill Bennett, 1997) ; SHINE (AT/UK, Scott Hicks, 1996) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; DOCUMENTARY FILMS. AUSTRALIA ; EUREKA STOCKADE (UK, Harry Watt, 1949 [prod. 1948]) ; FLIRTING (AT, John Duigan, 1991) ; DOGS IN SPACE (AT, Richard Lowenstein, 1986) ; MYTH AND THE CINEMA. AUSTRALIA ; OVERLANDERS, THE (UK, Harry Watt, 1946) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; RACE AROUND THE WORLD [TV] (AT, John Lander, 1997-) ; STRIKEBOUND (AT, Richard Lowenstein, 1984) Notes: Includes indexISBN: 1864487658 : $19.95LON: 14469038
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journal article
So what's in a name in Encore (8-21 May 1986) vol.4 iss.7 p.14-15
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