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Australian Horror Films, 1973-2010 / Peter Shelley Jefferson, North Carolina, and London: McFarland & Company Inc, c2012.
Call No: 735.2 (94) SHEAuthor: Shelley, Peter Source: US/UKPlace: Jefferson, North Carolina, and LondonPublisher: McFarland & Company IncPubDate: c2012PhysDes: vi, 320 p. : ill. ; 26 cmSubject: 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 BLURBNotes: '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 indexISBN: 9780786461677Contents: -- acknowledgments -- preface -- introduction -- the films -- bibliography -- index --
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Dreams within a dream : the films of Peter Weir / Michael Bliss Carbondale, Ill.: Southern Illinois University Press, c2000.
Call No: 81WEI BLIAuthor: Bliss, Michael, 1947 Place: Carbondale, Ill.Publisher: Southern Illinois University PressPubDate: c2000PhysDes: x, 242 p. : ill. ; 23 cmSubject: 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 indexISBN: 0809322846 (alk. paper)LON: 20076199
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script
The last wave : post-production script [1976?].
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The last wave / by Petru Popescu Sydney: Angus & Robertson, 1977.
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still
[Last wave : stills file] Warner Bros. Inc.,
Call No: TITLE STILLS AUSTRALIASource: ATPublisher: Warner Bros. Inc.PhysDes: 1 photograph : b&w ; 13 X 18 cm.Subject: LAST WAVE, THE (AT, Peter Weir, 1977) ; GULPILIL, DAVID ; CHAMBERLAIN, RICHARD Summary: Image of Chris Lee (Gulpilil) and his tribal elder Charlie (Nandjiwarra Amagula) explain tribal laws to David Burton (Richard Chamberlain) in THE LAST WAVENotes: Image doanted by Brian McFarlane
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title clippings file
LAST WAVE, THE : (AT, Peter Weir, 1977)
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Peter Weir : when cultures collide / Marek Haltof New York: Twayne, 1996.
Call No: 81WEI HALAuthor: Haltof, Marek Place: New YorkPublisher: TwaynePubDate: 1996PhysDes: xviii, 174 p. : ill. ; 22 cmSeries: Twayne's filmmakers seriesSubject: WEIR, PETER ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; GALLIPOLI (AT, Peter Weir, 1981) ; YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982) ; DEAD POETS SOCIETY (US, Peter Weir, 1989) ; LAST WAVE, THE (AT, Peter Weir, 1977) ; WITNESS (US, Peter Weir, 1985) ; MOSQUITO COAST, THE (US, Peter Weir, 1986) ; GREEN CARD (AT/FR, Peter Weir, 1990) ; FEARLESS (US, Peter Weir, 1993) Summary: During the course of his twenty-odd-year filmmaking career, Peter Weir has accomplished what so many of his protagonists have failed to do: he has become an accepted, integral part of an unfamiliar culture. At the core of most of his films and at the least peripheral to all of them is the idea of the outsider trying - and ultimately failing - to come to terms with a culture vastly different from his own. Weir, a native of Australia whose name was synonymous with Australian cinema in the 1970s, turned to American filmmaking in the 1980s and never looked back. In Peter Weir: When Cultures Collide, Marek Haltof traces Weir's journey from intensely Australian filmmaker to successful Hollywood director, along the way finding surprisingly consistent evidence of Weir's thematic and visual interests despite dramatic changes in his choices of story and localeNotes: Filmography: p. 158-167; Includes bibliographical references (p. 139-157) and indexISBN: 0805792449 (paper : alk paper); 0805778438 (cloth : alk paper)Order Received: 1997LON: 96027580; 12664203
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Peter Weir : interviews / edited by John C. Tibbetts ; foreword by David Thomson Jackson, Mississippi: University Press of Mississippi, 2014.
Call No: 81WEI PETAuthor: Tibbetts, John C ; Thomson, David Source: USPlace: Jackson, MississippiPublisher: University Press of MississippiPubDate: 2014PhysDes: xlii, 261 pages ; 24 cmSeries: Conversations with filmmakers seriesSubject: 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 BLURBNotes: Includes chronology and filmography for Peter Weir's work; includes indexISBN: 9781617038976Contents: 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
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Representing Aboriginality : a post-colonial analysis of the key trends of representing aboriginality in South African, Australian and Aotearoa/New Zealand film / Sacha Clelland-Stokes Hojbjerg, Denmark: Intervention Press, 2007.
Call No: 744.6 CLEAuthor: Clelland-Stokes, Sacha Source: NZPlace: Hojbjerg, DenmarkPublisher: Intervention PressPubDate: 2007PhysDes: 217 p. ; 21 cmSubject: INDIGENOUS ; MAORI CINEMA ; SOUTH AFRICA IN FILMS ; AUSTRALIAN ABORIGINAL CINEMA ; GREAT DANCE: A HUNTER'S STORY, THE (US, Craig Foster & Damon Foster) ; LAST WAVE, THE (AT, Peter Weir, 1977) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) Summary: The book looks at aborigines in Australia, South Africa, and New Zealand, and examines the social, and political attidudes of the rest of society towards these peoples. It attempts to show how film reflects these values , and concentrates on three films: The great dance - a hunter's story, The last wave, and Once were warriors.Notes: Bibliography: p. 207-217ISBN: 9788789825151
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journal article
Screen International. Focus on Australia '79 in Screen International (28/4-05/05/1979) iss.187 p.13-59
PhysDes: Focus IssueSubject: AUSTRALIAN FILM COMMISSION ; DISTRIBUTION. AUSTRALIA ; GOVERNMENT AID. AUSTRALIA ; SOUTH AUSTRALIAN FILM CORPORATION ; AUSTRALIAN FILM INSTITUTE ; FUNDING. AUSTRALIA ; LAST WAVE, THE (AT, Peter Weir, 1977) ; HOYTS ; GREATER UNION ; PRODUCTION COMPANIES & STUDIOS. AUSTRALIA Summary: Articles on the state of the Australian film industry, many focusing on proposed funding changes, the role of producers in making a film, and various distribution deals. John Morris, Antony Ginnane, Paul Davies, Fred Schepisi, and Graham Burke were consulted within some of the articles. Peter Weir's 'The Last Wave' features heavily as an example of the emerging Australian film scene. Includes numerous visuals of various Australian films and television showsNotes: In bound Screen International book 'Focus on Australia '79' appears both in Iss.187, and as a second copy at the end.
For other Australian Focus Issue resources see;'The Hollywood Reporter. A Special Report On Location in Australia', V.300, Iss.27, 05/01/1988'The Hollywood Reporter. Australia '89 Special Report On Location in Australia', V.306, Iss. 24, 24/02/1989
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