• MADMAX NOTES • in One Scene, Max Eats a Can of "Dinki-Di" Dog
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
For Release: on Approval Motion Picture Sound Editors to Honor
For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story. -
Artist Catalogue
NOBODY, NOWHERE THE LAST MAN (1805) THE END OF THE WORLD (1916) END OF THE WORLD (1931) DELUGE (1933) THINGS TO COME (1936) PEACE ON EARTH (1939) FIVE (1951) WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) ROBOT MONSTER (1953) DAY THE WORLD ENDED (1955) KISS ME DEADLY (1955) FORBIDDEN PLANET (1956) INVASION OF THE BODY SNATCHERS (1956) WORLD WITHOUT END (1956) THE LOST MISSILE (1958) ON THE BEACH (1959) THE WORLD, THE FLESH AND THE DEVIL (1959) THE GIANT BEHEMOTH (1959) THE TIME MACHINE (1960) BEYOND THE TIME BAR- RIER (1960) LAST WOMAN ON EARTH (1960) BATTLE OF THE WORLDS (1961) THE LAST WAR (1961) THE DAY THE EARTH CAUGHT FIRE (1961) THE DAY OF THE TRIFFIDS (1962) LA JETÉE (1962) PAN- IC IN YEAR ZERO! (1962) THE CREATION OF THE HUMANOIDS (1962) THIS IS NOT A TEST (1962) LA JETÉE (1963) FAIL-SAFE (1964) WHAT IS LIFE? THE TIME TRAVELERS (1964) THE LAST MAN ON EARTH (1964) DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) THE DAY THE EARTH CAUGHT FIRE (1964) CRACK IN THE WORLD (1965) DALEKS – INVASION EARTH: 2150 A.D. (1966) THE WAR GAME (1965) IN THE YEAR 2889 (1967) LATE AUGUST AT THE HOTEL OZONE (1967) NIGHT OF THE LIVING DEAD (1968) PLANET OF THE APES (1968) THE BED-SITTING ROOM (1969) THE SEED OF MAN (1969) COLOSSUS: THE FORBIN PROJECT (1970) BE- NEATH THE PLANET OF THE APES (1970) NO BLADE OF GRASS (1970) GAS-S-S-S (1970) THE ANDROM- EDA STRAIN (1971) THE OMEGA MAN (1971) GLEN AND RANDA (1971) ESCAPE FROM THE PLANET OF THE APES (1971) SILENT RUNNING (1972) DO WE HAVE FREE WILL? BEWARE! THE BLOB (1972) -
Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction -
Mad Max, Reaganism and the Road Warrior
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Mad Max, Reaganism and The Road Warrior By J. Emmett Winn Fall 1997 Issue of KINEMA IN 1981 THE AUSTRALIAN-MADE FILM The Road Warrior drove into the US film market.(1) The film was well received and quickly became, at that time, the most popular Australian movie ever releasedin the US, and since its debut has played regularly on US cable television.(2) Much has been written about the international success of this film and its predecessor, Mad Max, and the last in the trilogy Mad Max Beyond Thunderdome.(3) Contributing to that body of research, this paper addresses the American success of this Australian film within the cultural/political context of the US at the time of its North American release,and discusses its resonance with Reaganism. The fundamental goal of this examination is to situate the films in the larger context of cultural hegemony. The importance of this study lies in the critique of these films as they aid us in understanding the hegemonic process and the American box office triumph of The Road Warrior. I investigate how the trilogy in general, and The Road Warrior specifically, resonates with the social field of its time. These films entered the US during a period of renewed nationalistic interest and conservatism linked with the Reagan/Bush administrations. As Stuart Hall explains, the meanings of cultural products are partially provided by their time. In his article ”Notes on Deconstructing ’The Popular’” he states: The meaning of a cultural symbol is given in part by the social field into which it is incorporated, the practices which it articulates and is made to resonate. -
Dystopian Science Fiction Cinema In
Between the Sleep and the Dream of Reason: Dystopian Science Fiction Cinema In 1799, Francisco Goya published Los Caprichos, a collection of eighty aquatinted etchings satirising “the innumerable foibles and follies to be found in any civilized society, and … the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual.”i The most famous of them, “Capricho 43,” depicts a writer, slumped on his desk, while behind him strange creatures – a large cat, owls that shade into bats – emerge from the encompassing gloom. It is called “El sueño de la razón produce monstrous,” which is usually translated as “the sleep of reason produces monsters,” but could as easily be rendered “the dream of reason produces monsters.” In that ambiguous space – between reason’s slumber unleashing unreason and reason becoming all that there is – dystopia lies. In 1868, John Stuart Mill coined the word “dystopia” in a parliamentary speech denouncing British government policy in Ireland. Combining the Greek dys (bad) and topos (place), it plays on Thomas More’s “utopia,” itself a Greek pun: “ou” plus “topos” means “nowhere,” but “ou” sounds like “eu,” which means “good,” so the name More gave to the island invented for his 1516 book, Utopia, suggests that it is also a “good place.” It remains unclear whether More actually intended readers to consider his imaginary society, set somewhere in the Americas, as better than 16th century England. But it is certainly organized upon radically different lines. Private property and unemployment (but not slavery) have been abolished. Communal dining, legalized euthanasia, simple divorces, religious tolerance and a kind of gender equality have been introduced. -
Apocalypse and Australian Speculative Fiction Roslyn Weaver University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2007 At the ends of the world: apocalypse and Australian speculative fiction Roslyn Weaver University of Wollongong Recommended Citation Weaver, Roslyn, At the ends of the world: apocalypse and Australian speculative fiction, Doctor of Philosophy thesis, Faculty of Arts, University of Wollongong, 2007. http://ro.uow.edu.au/theses/1733 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AT THE ENDS OF THE WORLD: APOCALYPSE AND AUSTRALIAN SPECULATIVE FICTION A thesis submitted in fulfilment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ROSLYN WEAVER, BA (HONS) FACULTY OF ARTS 2007 CERTIFICATION I, Roslyn Weaver, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Faculty of Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Roslyn Weaver 21 September 2007 Contents List of Illustrations ii Abstract iii Acknowledgments v Chapter One 1 Introduction Chapter Two 44 The Apocalyptic Map Chapter Three 81 The Edge of the World: Australian Apocalypse After 1945 Chapter Four 115 Exile in “The Nothing”: Land as Apocalypse in the Mad Max films Chapter Five 147 Children of the Apocalypse: Australian Adolescent Literature Chapter Six 181 The “Sacred Heart”: Indigenous Apocalypse Chapter Seven 215 “Slipstreaming the End of the World”: Australian Apocalypse and Cyberpunk Conclusion 249 Bibliography 253 i List of Illustrations Figure 1. -
Mad Max 11 Music Credits
Music Composed and Conducted by Brian May Music Mixed & recorded at A.A.V. Australia by Roger Savage Mad Max 2 probably represented the apogee of composer Brian May's work with director George Miller, and consequently his work for the film has been given any number of releases on LP and CD, under the film's Australian and US titles, and his score remains widely available: LP Thatʼs Entertainment (UK). TER 1016 1982 SIDE 1: Opening Titles/Montage Confrontation * Marauderʼs Massacre Max Enters Compound Feral Boy Strikes * Gyro Saves Max SIDE 2: Gyro Flight * Break Out The Chase Continues Break Out * Finale/Largo End Title Music * Includes sound effects from the film LP Milan (France) A 120 163 1982 Distribution: Suisse MTB AG France RCA Belgique Inelco SIDE 1: Montage - Main Title Confrontation Marauders Massacre Max Enters Compound Gyro Saves Max SIDE 2: Breakout Finale / Largo End Title SFX Suite LP (ST) Varese Sarabande (USA) STV 81155 1982 (CD VAR 47262) Producer for Varese Sarabande Records: Tom Null, Chris Kuchler Executive Producers: Scot W. Holton, John Sievers Mastering Engineer: Bruce Leek, Automated Media Manufactured at KM Records. KM Production Coordination: Mike Malan, Karen Stone SIDE 1: Montage / Main Title Confrontation Maraudersʼ Massacre Max Enters Compound Gyro Saves Max SIDE 2: Break Out Finale And Largo End Title SFX Suite: a. Boomerang Attack. b. Gyro Flight / The Big Rig Starts. c. Break Out / The Refinery Explodes / Reprise. UMGD/Varese Saraband VCD 47262, November 1988 1. Montage (Main Title from the Road Warrior (Mad Max 2) (5'53") 2. Confrontation (3'32") 3. -
Our World Cinema Guide 2015 Use Cinime to Get More Contents
WELCOME TO OUR WORLD CINEMA GUIDE 2015 USE CINIME TO GET MORE CONTENTS. FROM DCM’S CINEMA GUIDE. Our vision 1 Male 15–34 49 Cinime is a companion mobile app, developed by Digital Cinema Media (DCM) About us 2 Taken 3 51 and Yummi, to help audiences get more from their trip to the movies. Bringing Fast facts 3 Kingsman: The Secret Service 52 the second screen to the big screen, brands can engage with cinemagoers Digital cinema is... Jupiter Ascending (3D) 53 throughout the cinema experience, connecting with audiences before and after Powerful 5 Chappie 54 Creative 7 Fast & Furious 7 55 the movie. Engaging 8 Avengers: Age of Ultron 56 Case study: HTC 9 Mad Max: Fury Road 57 Digital cinema is... Jurassic World (3D) 58 Targeted 11 Terminator: Genisys 59 Social 12 Ant-Man 60 How to use cinime Multi-platform 13 Grimsby 61 We’ve cinime-enabled the whole of this cinema miss the opening weekend. Find out more Mobile 14 Fantastic Four (3D) 62 guide using image-recognition technology so about cinime on p14 of the guide. Flexible 15 Star Wars: The Force Awakens (3D) 63 that you can view film trailers via your mobile. Dynamic 16 Female 15–34 65 Once you’ve watched the trailer, you can save Not every film featured has released a trailer Case study: BMW 17 The Woman in Black: Angel of Death 67 its release date to your phone and we’ll send yet, but we’ll keep updating the cinime content Digital cinema is... Into the Woods 68 you a push notification to make sure you don’t throughout the year. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Mad Max» Series 147-151
236 Δόξα / Докса.– 2015. – Вип. 2 (24). Δόξα / Докса.– 2015. – Вип. 2 (24). 237 5. Hardashchuk T. V. (2001) Suchasnyi ekolohizm: teoretychni zasady ta UDC 1-929.1/.3)+778.5 Konstantin Rayhert praktychni implikatsii [Modern environmentalism: the theoretical THE SOCIAL CRITICISM OF AUSTRALIAN ROADKILL foundations and practical implications], Praktychna filosofiia, № 1, pp. CULTURE IN GEORGE MILLER’S «MAD MAX» SERIES 147-151. Film series “Mad Max” is the George Miller’s social critical statement about 6. Ivanenko I. (2002) Pryroda yak zasib konstruiuvannia konfliktu v drami- the Australian car culture that is based on auto-fetishism. The Australian car feierii «Lisova pisnia» Lesi Ukrainky [Nature as a means of constructing culture is a kind of consumerism. The car murder culture, within what car is the conflict in Lesya Ukrainka’s fйerie «Forest Song»], Slobozhanshchyna, considered as a weapon of murder, is embedded into the Australian car culture. № 22, pp. 136–145. Keywords: Australia, culture, car, murder, consumerism. 7. Kontseptualni vymiry ekolohichnoi svidomosti: monohrafiia (2003) [Conceptual dimensions of environmental awareness: Monograms] / George Miller’s Mad Maxis a bright representative of Ozploitation1and [Kyselov M. M., Derkach V. L., Tolstoukhov A. V. ta in.], K., Vyd-vo the significant and emblematic film series in the history of Western popular „Parapan”, 312 p. culture. In particular the second film of the series influenced violently on Post- 8. Meterlink M. (2006) Synii ptakh: kazka [The Blue Bird: Tale] / perekazav apocalyptic thematic in cinema (for example: Lance Hool’s Steel Dawn(1987) z fr. L. Yakhnin ; per. z ros. Iu. Nadzbruchanets ; khudozh. I. Bodrova. K., starring Patrick Swayze, Lee H. -
Wandering Into the Wasteland: White American Masculinities in the Apocalyptic Science Fiction Road Narrative
Wandering into the Wasteland: White American Masculinities in the Apocalyptic Science Fiction Road Narrative Heather Wintle Submitted for the degree of PhD University of East Anglia School of Film, Television and Media Studies Date of submission: 9th October 2013 Word count: 99 939 words This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Wandering into the Wasteland: White American Masculinities in the Apocalyptic Science Fiction Road Narrative This thesis examines the portrayal of American white male subjects within the apocalyptic science fiction road narrative, focusing on two visual media in which this genre hybrid features prominently: film and comics. The study builds upon an embryonic body of scholarship addressing several structural, iconographic and thematic connections between the road genre and apocalyptic science fiction. In responding to the call for further research into the road genre’s spread across media, the study observes that apocalyptic road films and comics complicate the dominant critical narrative regarding the road movie’s increasing emphasis upon racially and sexually diverse travellers. Interrogating this discrepancy with an awareness of its ramifications for female, black and queer secondary characters’ representation, the thesis demonstrates how the apocalyptic science fiction road narrative has been persistently and primarily used as a forum for examining, indulging and critiquing various conceptualisations of American white masculinity and associated desires and anxieties. -
Surviving the End
Surviving The End A study of encounters with post-apocalyptic evil and survival strategies in Matheson’s I am Legend, McCarthy’s The Road, and Kirkman’s The Walking Dead: Compendium One ENG-3992 Kristian Bø Master’s Thesis in English Literature Faculty of Humanities, Social Studies and Education University of Tromsø Spring 2013 “Whoever fights monsters should see to it that in the process he does not become a monster. And when you look into an abyss, the abyss looks back into you” --Friedrich Nietzsche, Beyond Good and Evil ii Acknowledgements I would like to thank my tutor professor dr.philos. Gerd Karin Bjørhovde. Thank you for your patience, knowledge and your constructive criticism. To Henriette, thank you for your support and tips regarding my thesis. When writing such a paper it is always good to have someone to talk to. Thank you for being there. To my parents and family, thank you for your support and the interest you have shown in my thesis. You have repeatedly asked me the simple question: “What are you writing about?” which prompted me to think: “What Am I writing about?”. iii Abstract In this thesis the aim is to explore the dichotomy/duality of man in three post-apocalyptic texts and discuss how and why survivors react to the post-apocalyptic setting. Since a majority of post- apocalyptic fictional texts focus on the destruction of the world set to contemporary issues, this thesis will explore how the post-apocalyptic setting will force survivors into making difficult survival choices and discuss how the survivors cope with living in a devastated place.