book
Aim for the heart : the films of Clint Eastwood / Howard Hughes London ; New York: I.B. Tauris, 2009.
Call No: 81EAS HUGAuthor: Hughes, Howard Source: US/UKPlace: London ; New YorkPublisher: I.B. TaurisPubDate: 2009PhysDes: xxxi, 252 p. : ill. ; 25 cm.Subject: EASTWOOD, CLINT ; PER QUALCHE DOLLARO IN PIU (IT/SP/GW, Sergio Leone, 1965) ; TWO MULES FOR SISTER SARA (US, Don Siegel, 1969) ; PER UN PUGNO DI DOLLARI (IT/SP/GW, Sergio Leone, 1964) ; HIGH PLAINS DRIFTER (US, Clint Eastwood, 1973) ; OUTLAW JOSEY WALES, THE (US, Clint Eastwood, 1976) ; PALE RIDER (US, Clint Eastwood, 1985) ; UNFORGIVEN (US, Clint Eastwood, 1992) ; COOGAN'S BLUFF (US, Don Siegel, 1968) ; DIRTY HARRY (US, Don Siegel, 1971) ; MAGNUM FORCE (US, Ted Post, 1973) ; ENFORCER, THE (US, James Fargo, 1976) ; SUDDEN IMPACT (US, Clint Eastwood, 1983) ; TIGHTROPE (US, Richard Tuggle, 1984) ; CITY HEAT (US, Richard Benjamin, 1984) ; DEAD POOL, THE (US, Buddy Van Horn, 1988) ; ROOKIE, THE (US, Clint Eastwood, 1990) ; IN THE LINE OF FIRE (US, Wolfgang Peterson, 1993) ; PERFECT WORLD, A (US, Clint Eastwood, 1993) ; PAINT YOUR WAGON (US, Joshua Logan, 1969) ; BEGUILED, THE (US, Don Siegel, 1971) ; PLAY MISTY FOR ME (US, Clint Eastwood, 1971) ; BREEZY (US, Clint Eastwood, 1973) ; BRIDGES OF MADISON COUNTY, THE (US, Clint Eastwood, 1995) ; EVERY WHICH WAY BUT LOOSE (US, James Fargo, 1978) ; BRONCO BILLY (US, Clint Eastwood, 1980) ; ANY WHICH WAY YOU CAN (US, Buddy Van Horne, 1980) ; PINK CADILLAC (US Buddy van Horn, 1989) ; HONKYTONK MAN (US, Clint Eastwood, 1982) ; BIRD (US, Clint Eastwood, 1988) ; WHITE HUNTER, BLACK HEART (US, Clint Eastwood, 1990) ; SPACE COWBOYS (US, Clint Eastwood, 2000) ; MYSTIC RIVER (US, Clint Eastwood, 2003) ; MILLION DOLLAR BABY (US, Clint Eastwood, 2004) ; THUNDERBOLT AND LIGHTFOOT (US, Michael Cimino, 1974) ; EIGER SANCTION, THE (US, Clint Eastwood, 1975) ; ESCAPE FROM ALCATRAZ (US, Donald Siegel, 1979) ; ABSOLUTE POWER (US, Clint Eastwood, 1997) ; TRUE CRIME (US, Clint Eastwood, 1999) ; BLOOD WORK (US, Clint Eastwood, 2002) ; WHERE EAGLES DARE (US, Brian G. Hutton, 1969) ; KELLY'S HEROES (US, Brian G. Hutton, 1970) ; FIREFOX (US, Clint Eastwood, 1982) ; HEARTBREAK RIDGE (US, Clint Eastwood, 1986) ; FLAGS OF OUR FATHERS (US, Clint Eastwood, 2006) ; LETTERS FROM IWO JIMA (US, Clint Eastwood, 2006) Summary: "Clint Eastwood is one of the world’s most popular action stars, who has matured into one of America’s finest producer-directors. Entertaining, illuminating and packed with information, Aim for the Heart is the first book to cover his full life in the movies, showing how as both actor and filmmaker Eastwood aims for the heart of the drama, whatever the story.
Alongside details of all his movies, Eastwood’s story is illustrated with film stills, glimpses behind the scenes, and rare poster advertising material. Also featuring the most comprehensive credits filmography ever compiled on Eastwood’s work, as star and director."-- BOOK BLURBNotes: "Eastwood filmography": p. [215]-235 -- Includes bibliographical references and indexISBN: 9781845119027Contents: Preface: Aim for the art -- Acknowledgements -- Universal casting: the early films -- Ridin' easy: Rawhide -- pt. 1. The westerns: A fistful of dollars (1964) -- For a few dollars more (1965) -- The good, the bad and the ugly (1966) -- Hang 'em high (1968) -- Two mules for Sister Sara (1970) -- Joe Kidd (1972) -- High plains drifter (1973) -- The outlaw Josey Wales (1976) -- Pale Rider (1985) -- Unforgiven (1992) -- pt. 2. The cops: Coogan's bluff (1968) -- Dirty Harry (1971) -- Magnum force (1973) -- The enforcer (1976) -- The gauntlet (1977) -- Sudden impact (1983) -- Tightrope (1984) -- City heat (1984) -- The dead pool (1988) -- The rookie (1990) -- In the line of fire (1993) -- A perfect world (1993) -- The lovers: The witches (1967) -- Paint your wagon (1968) -- The beguiled (1971) -- Play Misty for me (1971) -- Breezy (1973) -- The bridges of Madison County (1995) -- pt. 4. The comedies: Every which way but loose (1978) -- Bronco Billy (1980) -- Any which way you can (1980) -- Pink Cadillac (1989) -- pt. 5. The dramas: Honkytonk man (1982) -- Bird (1988) -- White hunter black heart (1990) -- Midnight in the garden of good and evil (1997) -- Space cowboys (2000) -- Mystic river (2003) -- Million dollar baby (2004) -- pt. 6. The thrillers: Thunderbolt and Lightfoot (1974) -- The Eiger sanction (1975) -- Escape from Alcatraz (1979) -- Absolute power (1996) -- True crime (1999) -- Blood work (2002) -- pt. 7. The war movies: Where eagles dare (1968) -- Kelly's heroes (1970) -- Firefox (1982) -- Heartbreak ridge (1986) -- Flags of our fathers (2006)/Letters from Iwo Jima (2006) -- Epilogue -- Eastwood filmography.
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ALMOST PERFECT AFFAIR : (US, Michael Ritchie, 1979)
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Altman on Altman / Robert Altman and David Thompson (ed.) London: Faber and Faber, 2005.
Call No: 81ALT THOAuthor: Altman, Robert and Thompson, David Source: UKPlace: LondonPublisher: Faber and FaberPubDate: 2005PhysDes: xxii, 306p. ; b+w ill. : 22cm.Subject: ALTMAN, ROBERT ; M*A*S*H (US, Robert Altman, 1969) ; LONG GOODBYE, THE (US, Robert Altman, 1973) ; THIEVES LIKE US (US, Robert Altman, 1974) ; CALIFORNIA SPLIT (US, Robert Altman, 1974) ; NASHVILLE (US, Robert Altman, 1975) ; BUFFALO BILL AND THE INDIANS (US, Robert Altman, 1976) ; QUINTET (US, Robert Altman, 1979) ; PERFECT COUPLE, A (US, Robert Altman, 1979) ; HEALTH (US, Robert Altman, 1980) ; POPEYE (US, Robert Altman, 1980) ; COME BACK TO THE FIVE AND DIME JIMMY DEAN, JIMMY DEAN (US, Robert Altman, 1982) ; STREAMERS (US, Robert Altman, 1983) ; SECRET HONOR (US, Robert Altman, 1984) ; FOOL FOR LOVE (US, Robert Altman, 1985) Summary: In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.Notes: Includes index and bibliographyISBN: 0571220894
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ANGUS, THONGS AND PERFECT SNOGGING : (US/GG/UK, Gurinder Chadha, 2008)
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book
Australian television : programs, pleasures & politics / edited by John Tulloch and Graeme Turner Sydney: Allen & Unwin, 1989.
Call No: 408.1(94) AUSAuthor: Tulloch, John, 1942 ; Turner, Graeme Place: SydneyPublisher: Allen & UnwinPubDate: 1989PhysDes: xv, 204 p. ; 22 cmSeries: Australian cultural studiesSubject: TELEVISION. AUSTRALIA ; NATIONAL CULTURE AND TV. AUSTRALIA ; TELEVISION AND THE CINEMA. AUSTRALIA ; GAMES SHOWS. AUSTRALIA ; SOAP OPERAS. AUSTRALIA ; DOCUMENTARIES. AUSTRALIA ; CHILDREN AND TV. AUSTRALIA ; HISTORY OF TV. AUSTRALIA ; PERFECT MATCH [TV] (AT, 1984-89?) ; PRISONER [TV] (AT, 1979-86) ; COUNTRY PRACTICE, A [TV] (AT, 1981-1995?) ; LAST PLACE ON EARTH, THE [TV] (AT, 1987) ; VIETNAM [TV] (AT, John Duigan & Chris Noonan, 1987) Notes: Includes bibliographies and indexISBN: 0043800300 (pbk.) : price unknownLON: 6398616
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Banking on another hit in Sunday Herald Sun (03/05/2015) p.90
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BROTHER WITH PERFECT TIMING, A : (US, Chris Austin, 1987?)
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Crash beckons as black boxes yield their secrets in Weekend Australian [Review] (28/01/2017) p.15
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Doing the rounds in Filmnews (September 1985) vol.15 iss.7 p.16-17
PhysDes: ArticleSubject: SOEURS BRONTE, LES (FR, Andre Techine, 1979) ; HOMME BLESSE, L' (FR, Patrice Chereau, 1983) ; SANTOS INOCENTES, LOS (SP, Mario Camus, 1984) ; EMPTY BEACH, THE (AT, Chris Thomson, 1985) ; BACK TO THE FUTURE (US, Robert Zemeckis, 1985) ; MAD MAX BEYOND THUNDERDOME (AT, George Miller & George Ogilvie, 1985) ; COCA-COLA KID, THE (AT, Dusan Makavejev, 1985) ; COCOON (US, Ron Howard, 1985) ; EMERALD FOREST, THE (UK, John Boorman, 1985) ; REPO MAN (US, Alex Cox, 1984) ; PERFECT (US, James Bridges, 1985) Summary: film reviews of the film listed in the subject field - Bronte Sisters/Adrian Martin, L'Homme Blesse/John Conomos, Holy Innocents/Penny Davies, Empty Beach/Kathe Boehringer, Back to the Future/Kathe Boehringer, Mad Max Beyond Thunderdome/Ross Gibson, Coca Cola Kid/Ross Gibson, Cocoon/Peter Kepm, Emerald Forest/Peter Kemp, Repo Man/Susan Charlton, Perfect/Susan Charlton
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'Fat Amy' and her pals set box office singing in The Australian (13/05/2015) p.21
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Histrionic comedy of manners and mortals in Sunday Age [M Inside Out] (29/01/2017) p.11
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newspaper article
Insider in Sunday Telegraph [Insider] (10/05/2015) p.126
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book
The media in Australia : industries, texts, audiences / edited by Stuart Cunningham and Graeme Turner St Leonards, N.S.W.: Allen & Unwin, 1997.
Call No: 401(94) MEDAuthor: Cunningham, Stuart ; Turner, Graeme Edition: 2nd edPlace: St Leonards, N.S.W.Publisher: Allen & UnwinPubDate: 1997PhysDes: xviii, 490 p. : ill. ; 23 cmSubject: MEDIA. AUSTRALIA ; INDUSTRY, FILM. AUSTRALIA ; INDUSTRY, TV. AUSTRALIA ; ADVERTISING. AUSTRALIA ; AUDIENCE RESEARCH. AUSTRALIA ; AUDIENCES. AUSTRALIA ; PAY TV. AUSTRALIA ; PRODUCTION. AUSTRALIA ; PRODUCTION, TV. AUSTRALIA ; NEWS PROGRAMMES. AUSTRALIA ; OWNERSHIP. AUSTRALIA ; POLITICS AND TV. AUSTRALIA ; GOVERNMENT CONTROL. AUSTRALIA ; VIOLENCE ON TV. AUSTRALIA ; DRAMAS. AUSTRALIA ; WOMEN AND TV. AUSTRALIA ; HOME VIDEO. AUSTRALIA ; RATINGS. AUSTRALIA ; Australian Broadcasting Tribunal ; COUNTRY PRACTICE, A [TV] (AT, 1981-1995?) ; PERFECT MATCH [TV] (AT, 1984-89?) Notes: Includes index; Bibliography: p. 441-467ISBN: 1864482737LON: 12826003
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book
New vampire cinema / Ken Gelder London: British Film Institute ; Palgrave Macmillan, 2012.
Call No: 735.23 GELAuthor: Gelder, Ken Source: UKPlace: LondonPublisher: British Film Institute ; Palgrave MacmillanPubDate: 2012PhysDes: ix, 155 pages : illustrations ; 24 cmSubject: DRACULA IN FILMS ; HORROR FILMS ; REMAKES ; VAMPIRE FILMS ; BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992) ; SHADOW OF THE VAMPIRE (UK/US, E. Elias Merhige, 2000) ; BUFFY THE VAMPIRE SLAYER (US, Fran Rubel Kuzui, 1992) ; INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994) ; QUEEN OF THE DAMNED, THE (US/AT, Michael Rymer, 2002) ; LET THE RIGHT ONE IN (SW, Tomas Alfredson, 2008) ; LAT DEN RATTE KOMMA IN (SW, Tomas Alfredson, 2008) ; LET ME IN (UK/US, Matt Reeves, 2010) ; NIGHT WATCH, THE (RU, Timur Bekmanbetov, 2004) ; DAY WATCH (RU, Timur Bekmambeton, 2006) ; DNEVNOY DOZOR (RU, Timur Bekmambeton, 2006) ; IRMA VEP (FR, Oliver Assayas, 1996) ; VAMPIRE HUNTER D. (JA, Yoshiaki Kawajiri, 2000) ; BLOOD: THE LAST VAMPIRE (CN, Micahel Storey, 1998) ; THIRST (SK, Park Chan-wook, 2009) ; BAKJWI (SK, Park Chan-wook, 2009) ; NADJA (US, Michael Almereyda, 1994) ; ADDICTION, THE (US, Abel Ferrara, 1995) ; HABIT (US, Larry Fessenden, 1996) ; VAMPIRE IN BROOKLYN (US, Wes Craven, 1995) ; TWILIGHT (US, Catherine Hardwicke, 2008) ; ECLIPSE, TWILIGHT 3 (US, David Slade, 2010) ; CRONOS (MX, Guillermo del Toro, 1993) ; FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996) ; BLADE (US, Stephen Norrington, 1998) ; BLADE II (US, Guillermo Del Toro, 2002) ; BLADE: TRINITY (US, David S. Goyer, 2004) ; UNDERWORLD (US, Len Wiseman, 2003) ; UNDERWORLD: EVOLUTION (US, Len Wiseman, 2005) ; PERFECT CREATURE (NZ/UK, Glenn Standring, 2006) ; DAYBREAKERS (US, Michael Spierig and Peter Spierig, 2008) Summary: "New Vampire Cinema lifts the coffin lid on forty vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer - films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire, Vampire Hunter D: Bloodlust), South Korea (Thirst), New Zealand (Perfect Creature), Australia (Daybreakers), and elsewhere. In a series of exhilarating readings, Gelder determines what is at stake when the cinematic vampire and the modern world are made to encounter one another - where the new, the remake and the sequel find the vampire struggling to survive the past, the present and, in some cases, the distant future." -- BOOK BLURBNotes: Includes bibliographical references and indexISBN: 9781844574407
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NINE PERFECT STRANGERS [IN PRODUCTION] : (US, 2021) Digital clippings file available
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ONE PERFECT DAY : (AT, Paul Currie, 2003)
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script
One perfect day / story Paul Currie and Chip Richards; screenplay Chip Richards 2003.
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ONE PERFECT DAY : (AT, Michael Lawrence, 1988)
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poster
[ONE PERFECT DAY : POSTER] AT:
Call No: P ONEPlace: ATPhysDes: 1 poster : col. ; 101 X 70 cm.Subject: ONE PERFECT DAY (AT, Paul Currie, 2004) Summary: Image: Dan Spielman holding small recorder and microphone in foreground. Large crowd in background.Notes: Scratches and tears down top left side. Tears on bottom right corner.
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PERFECT : (US, James Bridges, 1985)
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PERFECT BLUE : (JA, Satoshi Kon, 1999)
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PERFECT CANDIDATE, A : (US, R.J. Cutler & David van Taylor, 1996)
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PERFECT CANDIDATE, THE : (SU/GG, Haifaa Al-Mansour, 2019)
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PERFECT COUPLE, A : (US, Robert Altman, 1979)
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PERFECT CRIME, THE : (US, Aaron Leviathon, 1982)
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PERFECT DAY, A : (SP, Fernando León de Aranoa, 2015)
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PERFECT DAY, A : (SP, Fernando Leon de Aranoa, 2015) Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Clippings; Press kitSubject: PERFECT DAY, A (SP, Fernando Leon de Aranoa, 2015) URL status: URL: 'http://file://Q:/T/PERFECT_DAY,_A.zip'
Checked: 31/08/2021 1:45:29 PM
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PERFECT, EDDIE Digital clippings file available
Call No: PERSONALITY CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: ClippingsSubject: PERFECT, EDDIE URL status: URL: 'http://file://Q:/P/PERFECT,_EDDIE.zip'
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PERFECT KISS, THE : (US, Jonathan Demme, 1985)
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PERFECT LITTLE ANGELS : (US, Timothy Bond, 1998)
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PERFECT MAN THE : (US, Mark Rosman, 2005)
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PERFECT MATCH : [TV](AT, 1984-1989)
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PERFECT MATCH, THE : (US, Mark Deimel, 1987)
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PERFECT MURDER, A : (US, Andrew Davis, 1998)
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PERFECT MURDER, THE : (UK/II, Zafar Hai, 1988)
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PERFECT STORM, THE : (US, Wolfgang Petersen, 2000)
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PERFECT STRANGER : (US, James Foley, 2007) Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Clippings; Press kitSubject: PERFECT STRANGER (US, James Foley, 2007) URL status: URL: 'http://file://Q:/T/PERFECT_STRANGER.zip'
Checked: 31/08/2021 1:14:30 PM
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PERFECT STRANGERS : (NZ, Gaylene Preston, 2003)
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PERFECT STRANGERS [TV] : (UK, Stephen Poliakoff, 2001)
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PERFECT WEAPON, THE : (US, Mark Di Salle, 1991 [prod. 1990])
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PERFECT WORLD, A : (US, Clint Eastwood, 1993)
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PERFECTOS DESCONOCIDOS [PERFECT STRANGERS] : (MX , Manolo Caro, 2018)
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PERFETTI SCONSCIUTI : (IT, Paolo Genovese, 2016)
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PICTURE PERFECT : (US, Glenn Gordon Caron, 1997)
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PITCH PERFECT : (US, Jason Moore, 2012)
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PITCH PERFECT 2 : (US, Elizabeth Banks, 2015)
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PITCH PERFECT 3 : (US, Trish Sie, 2017)
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POOCH PERFECT [TV] : (AT, 2020) Digital clippings file available
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The road movie book / edited by Steven Cohan and Ina Rae Hark London New York: Routledge, 1997.
Call No: 754.11 ROAAuthor: Cohan, Steven ; Hark, Ina Rae Place: London New YorkPublisher: RoutledgePubDate: 1997PhysDes: xv, 379 p. : ill. ; 24 cmSubject: ROAD MOVIES ; BUDDY FILMS ; HOMOSEXUALITY IN FILMS ; AIDS IN FILMS ; EASY RIDER (US, Dennis Hopper, 1969) ; MAD MAX [...] (AT, 1979-85) ; THEY LIVE BY NIGHT (US, Nicholas Ray, 1949) ; PARIS, TEXAS (GW/US, Wim Wenders, 1984) ; RAIN MAN (US, Barry Levinson, 1988) ; SEARCHERS, THE (US, John Ford, 1956) ; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994) ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; BOYS ON THE SIDE (US, Herbert Ross, 1995) ; FASTER PUSSYCAT! KILL! KILL! (US, Russ Meyer, 1966) ; LIVING END, THE (US, Gregg Araki, 1992) ; MIDNIGHT RUN (US, Martin Brest, 1988) ; MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991) ; NATURAL BORN KILLERS (US, Oliver Stone, 1994) ; PERFECT WORLD, A (US, Clint Eastwood, 1993) ; SORPASSO, IL (IT, Dino Risi, 1962) ; THELMA & LOUISE (US, Ridley Scott, 1991) ; TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR (US, Beeban Kidron, 1995) ; WITHOUT RESERVATIONS (US, Mervyn LeRoy, 1946) ; WIZARD OF OZ, THE (US, Victor Fleming, 1939) Notes: Includes bibliographical references and indexesISBN: 0415149363 (hbk.); 0415149371 (pbk.)LON: 97008924; 13107383
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Sequel to frotht choral comedy hits wrong notw in The Age [Arts & Entertainment] (7/05/2015) p.20
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Siege drama makes its points with humour in Weekend Australian [Review] (11/06/2016) p.14
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'The locals' and the global : transnational currents in contemporary New Zealand horror in Studies in Australasian cinema (2010) vol.4 iss.1 p.73-79
Author: Cameron, Allan PhysDes: ArticleSubject: NATIONAL IDENTITY AND THE CINEMA. NEW ZEALAND ; HORROR FILMS. NEW ZEALAND ; INDUSTRY, FILM. NEW ZEALAND ; FANTASTIC FILMS ; LOCALS, THE (NZ, Greg Page, 2003) ; BLACK SHEEP (NZ, Jonathan King, 2006) ; FERRYMAN, THE (NZ/UK, Chris Graham, 2007) ; TATTOOIST, THE (NZ/SI, Peter Berger, 2007) ; PERFECT CREATURE (NZ/UK, Glenn Standring, 2006) Summary: Article arguing the connectedness between otherness of horror with the otherness of cultural identities within New Zealand horror film.Notes: Recent years have seen a conspicuous resurgence of the horror genre in New
Zealand cinema. What sets recent New Zealand horror films apart from their
local antecedents, however, is their self-conscious reframing of local identity
against an international backdrop. Contemporary Kiwi horrors such as The
Locals, Black Sheep, The Tattooist and Perfect Creature effectively extend
horror’s characteristic focus on questions of otherness to the otherness of local
and global cultural identities. In this way, they subject New Zealand cinema’s
Gothic tradition to a type of remapping, in which the Gothic is ironized, hybridized
or displaced. In a number of these films (several of which are international
co-productions) the Gothic even comes untethered from the local landscape and
moves across national frontiers. By reworking the tropes of New Zealand horror,
these films take up the challenge of re-articulating New Zealand identities for
the early twenty-first century, producing a palimpsestic vision of nationhood
determined not by essences but by codes.--Abstract
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Wake-up call in Sydney Morning Herald [The Shortlist] (27/01/2017) p.6
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WORDS OF MY PERFECT TEACHER : (CN, Lesley Ann Pattern, 2003)
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Worthy cause in a maze of chaos in Sunday Age [Inside Out] (12/06/2016) p.11
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