Screen cap from promotional trailer
form y Mad Max 2 : The Road Warrior single work   film/TV   science fiction  
Is part of Mad Max 1979 series - author film/TV (number 2 in series)
Issue Details: First known date: 1981 1981
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AbstractHistoryArchive Description

In this sequel to the original Mad Max, Max finds himself involved with a small group of settlers who live around a small working oil refinery, producing that most precious of products in a post-apocalyptic society: petrol.

Adaptations

y Mad Max 2 Carl Ruhen , Cammeray : Horwitz , 1981 Z544319 1981 single work novel science fiction

Notes

  • The trailer for this film is available to view via YouTube: http://www.youtube.com/watch?v=kBrAh3OyYnI (Sighted: 16/4/2012)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Wasteland Festival Draws Record Crowd Thanks to George Miller's Mad Max : Fury Road Garry Maddox , 2016 single work column
— Appears in: Brisbane Times , 3 October 2016;

'They came dressed as War Boys. They showed off custom-built vehicles from the Mad Max movies, including both the old and new versions of the famous Interceptor. They battled in the Thunderdome – with foam weapons.'

'The seventh Wasteland Weekend in the Mojave Desert in California showed how much George Miller's series of action movies are resonating a long way from their origins in Australia. ...'

Dual Occupancy : Melbourne and the Feminist Drama of Dwelling in Monkey Grip Allison Craven , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 333-342)
'Monkey Grip is viewed as a film that evokes the sexual politics of feminism and of city life, and can thus be seen as both a feminist film and a 'Melbourne film', a convergence that emerges in other films made and set in Melbourne, including Love and Other Catastrophes. The city appears as a centre of dwelling and habitation, with attention drawn to the spectacle of the interiors of the residences, in which much of the action occurs, and with reflection on the conditions and values of production. Bachelard's notion of the house image is applied to distinguish the performances of gender from those in films in non-urban settings.' (Editor's abstract)
y Reel Locations : The Ultimate Travel Guide to Aussie Films Anthony Roberts , Prahran : Explore Australia , 2011 Z1793927 2011 single work prose travel 'Did you know that because baby pigs grow at an alarming rate, 48 pigs were used for the filming of Babe? Or that the town of Poowong in South Gippsland was selected for the premier of Kenny? Reel Locations: The Ultimate Travel Guide to Aussie Films is a book for anyone with an interest in Australian films - and for those wanting to relive the magic that was created. Covering 20 iconic Australian flicks, film buff Anthony Roberts not only details what locations were used for particular scenes, but also offers travel information on what you'll see if you visit these locations now, as well as where to eat and where to stay. A vibrant design, film stills and many quirky facts round out this enjoyable book that is ideal for both armchair travellers and eager tourists.' (Publisher's blurb)
y Not Quite Hollywood : The Wild, Untold Story of Ozploitation! Paul Harris , Collingwood : Madman Entertainment , 2008 Z1636275 2008 single work criticism (taught in 1 units)

Not Quite Hollywood is the story of Ozploitation.

More explicit, violent and energetic than anything out of Hollywood, Aussie genre movies such as Alvin Purple, The Man From Hong Kong, Patrick, Mad Max and Turkey Shoot presented a unique take on established cinematic conventions.

In England, Italy and the grindhouses and Drive-ins of North America, audiences applauded our homegrown marauding revheads with their brutish cars; our sprnky well-stacked heroines and our stunts - unparalleled in their quality and extreme danger!

Busting with outrageous anecdotes, trivia and graphic poster art - and including isights from key cast, crew and fans - including Quentin Tarantino - this is the wild, untold story of an era when Aussie cinema got its gear off and showed the world a full-frontal explosion of boobs, pubes, tubes...and even a little kung fu!

y The Mad Max Movies Adrian Martin , Strawberry Hills : Currency Press ScreenSound Australia , 2003 Z1040121 2003 single work criticism "Martin compares the three Mad Max movies and shares his views on which works best and why. In a chapter dedicated to each film, he looks at their critical reception and their themes, examines Miller's shooting techniques and provides a shot-by-shot analysis of integral scenes."--Currency Press Newsletter, April, 2003
y Australian Film in the 1980s Tom O'Regan , Perth : Centre for Research in Culture and Communication (Murdoch University) , 1995 Z1612169 1989 single work criticism

In this essay Tom O'Regan explores the Australian film industry in relation to filmmaking, audiences and government influence. 'It would be difficult to find a more interesting period in Australian film history than the 1980s,' he writes. 'There was the experiment of a government inspired tax shelter: the so-called tax incentives which provided levels of production funding and activity that had been hitherto unheard of in Australian film production. The average number of feature films made per year doubled from 15 in the 1970s to 27 in the 1980s when some 65 mini-series were also made. Additionally the budgets for all these rose sharply. The incentives exempted film production from the full pressures of the market. They permitted the industry to withstand the pressures for internationalisation by providing cheap finance and insisting on Australian creative control to secure the tax benefits.'

The 1980s saw a boom in the production television mini-series, including Vietnam (1987), and the release of several blockbusters, the most significant being Mad Max 2 (1981), Gallipoli (1981), The Man from Snowy River (1982), and the international box-office hit, Crocodile Dundee (1986). It was also an era when Australia's art cinema flourished, principally through the works of Paul Cox.

y The Mad Max Movies Adrian Martin , Strawberry Hills : Currency Press ScreenSound Australia , 2003 Z1040121 2003 single work criticism "Martin compares the three Mad Max movies and shares his views on which works best and why. In a chapter dedicated to each film, he looks at their critical reception and their themes, examines Miller's shooting techniques and provides a shot-by-shot analysis of integral scenes."--Currency Press Newsletter, April, 2003
y Australian Film in the 1980s Tom O'Regan , Perth : Centre for Research in Culture and Communication (Murdoch University) , 1995 Z1612169 1989 single work criticism

In this essay Tom O'Regan explores the Australian film industry in relation to filmmaking, audiences and government influence. 'It would be difficult to find a more interesting period in Australian film history than the 1980s,' he writes. 'There was the experiment of a government inspired tax shelter: the so-called tax incentives which provided levels of production funding and activity that had been hitherto unheard of in Australian film production. The average number of feature films made per year doubled from 15 in the 1970s to 27 in the 1980s when some 65 mini-series were also made. Additionally the budgets for all these rose sharply. The incentives exempted film production from the full pressures of the market. They permitted the industry to withstand the pressures for internationalisation by providing cheap finance and insisting on Australian creative control to secure the tax benefits.'

The 1980s saw a boom in the production television mini-series, including Vietnam (1987), and the release of several blockbusters, the most significant being Mad Max 2 (1981), Gallipoli (1981), The Man from Snowy River (1982), and the international box-office hit, Crocodile Dundee (1986). It was also an era when Australia's art cinema flourished, principally through the works of Paul Cox.

y Not Quite Hollywood : The Wild, Untold Story of Ozploitation! Paul Harris , Collingwood : Madman Entertainment , 2008 Z1636275 2008 single work criticism (taught in 1 units)

Not Quite Hollywood is the story of Ozploitation.

More explicit, violent and energetic than anything out of Hollywood, Aussie genre movies such as Alvin Purple, The Man From Hong Kong, Patrick, Mad Max and Turkey Shoot presented a unique take on established cinematic conventions.

In England, Italy and the grindhouses and Drive-ins of North America, audiences applauded our homegrown marauding revheads with their brutish cars; our sprnky well-stacked heroines and our stunts - unparalleled in their quality and extreme danger!

Busting with outrageous anecdotes, trivia and graphic poster art - and including isights from key cast, crew and fans - including Quentin Tarantino - this is the wild, untold story of an era when Aussie cinema got its gear off and showed the world a full-frontal explosion of boobs, pubes, tubes...and even a little kung fu!

y Reel Locations : The Ultimate Travel Guide to Aussie Films Anthony Roberts , Prahran : Explore Australia , 2011 Z1793927 2011 single work prose travel 'Did you know that because baby pigs grow at an alarming rate, 48 pigs were used for the filming of Babe? Or that the town of Poowong in South Gippsland was selected for the premier of Kenny? Reel Locations: The Ultimate Travel Guide to Aussie Films is a book for anyone with an interest in Australian films - and for those wanting to relive the magic that was created. Covering 20 iconic Australian flicks, film buff Anthony Roberts not only details what locations were used for particular scenes, but also offers travel information on what you'll see if you visit these locations now, as well as where to eat and where to stay. A vibrant design, film stills and many quirky facts round out this enjoyable book that is ideal for both armchair travellers and eager tourists.' (Publisher's blurb)
Dual Occupancy : Melbourne and the Feminist Drama of Dwelling in Monkey Grip Allison Craven , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 333-342)
'Monkey Grip is viewed as a film that evokes the sexual politics of feminism and of city life, and can thus be seen as both a feminist film and a 'Melbourne film', a convergence that emerges in other films made and set in Melbourne, including Love and Other Catastrophes. The city appears as a centre of dwelling and habitation, with attention drawn to the spectacle of the interiors of the residences, in which much of the action occurs, and with reflection on the conditions and values of production. Bachelard's notion of the house image is applied to distinguish the performances of gender from those in films in non-urban settings.' (Editor's abstract)
Wasteland Festival Draws Record Crowd Thanks to George Miller's Mad Max : Fury Road Garry Maddox , 2016 single work column
— Appears in: Brisbane Times , 3 October 2016;

'They came dressed as War Boys. They showed off custom-built vehicles from the Mad Max movies, including both the old and new versions of the famous Interceptor. They battled in the Thunderdome – with foam weapons.'

'The seventh Wasteland Weekend in the Mojave Desert in California showed how much George Miller's series of action movies are resonating a long way from their origins in Australia. ...'

Last amended 24 Mar 2016 12:07:13
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