form Mad Max series - author   film/TV   science fiction  
Issue Details: First known date: 1979 1979
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Includes

1
form y Mad Max James McCausland , George Miller , Australia : Kennedy Miller Entertainment , 1979 Z1040124 1979 single work film/TV science fiction (taught in 5 units)

In a post-apocalyptic Australia, law and order has begun to break down due to energy shortages, despite the efforts of Main Force Patrol (MFP) officers like Max Rockatansky. After Rockatansky encounters Toecutter's motorcycle gang, who are running runshod over isolated communities, he grows disillusioned with his role in the MFP. At first convinced by his superior officer not to resign, he is driven into a state of cold-blooded revenge when Toecutter's gang murder his wife and young son.

2
form y Mad Max 2 : The Road Warrior Terry Hayes , George Miller , Brian Hannant , Australia : Kennedy Miller Entertainment , 1981 Z988552 1981 single work film/TV science fiction (taught in 4 units)

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.

3
form y Mad Max : Beyond Thunderdome Terry Hayes , George Miller , Australia : Kennedy Miller Entertainment , 1985 Z1040130 1985 single work film/TV science fiction

Some fifteen years after the events of Mad Max 2, when civilisation has been all but destroyed by the nuclear war, former policeman Max continues to roam the Australian desert, this time in a camel-drawn vehicle. When father-and-son thieves Jebediah Senior and Junior use their jury-rigged airplane to steal his possessions and his means of transportation, Max makes his way to Bartertown. A cesspool of post-apocalyptic capitalism powered by methane-rich pig manure, Bartertown is ruled by two competing overlords: Aunty Entity and Master (a crafty midget who rides around on the back of his hulking underling, Blaster). Seeking to re-equip himself, Max strikes a deal with the haughty Aunty to kill Blaster in ritualised combat inside Thunderdome, a giant jungle gym where Bartertown's conflicts are played out in a postmodern update of bread and circuses. Although Max manages to fell the mighty Blaster, he refuses to kill him after realising Blaster has a developmental disability. Aunty's henchmen murder Blaster anyway, and then punish Max for violating the law of Thunderdome: 'two men enter, one man leaves.' Lashed to the back of a hapless pack animal and sent out into a sandstorm to die, Max is rescued by a band of tribal children and teens. The descendants of the victims of an airplane crash, the kids inhabit a lush valley and wait for the day when Captain Walker, the plane's pilot, will return to lead them back to civilisation. Some of the children refuse to believe that the glorious cities of their mythology no longer exist, and set off in search of civilisation on their own. Max and three tribe members subsequently set out to rescue them from Bartertown and Aunty Entity.

4
form y Mad Max : Fury Road Mad Max 4 George Miller , Australia : Kennedy Miller Entertainment , 2015 Z1864561 2015 single work film/TV science fiction

Despite post-dating the third film in the series by some thirty years, this instalment is said to fit in the timeline somewhere between films one and two.

Max Rockatansky, trapped in the citadel of warlord Immortan Joe, crosses paths with Imperator Furiosa, who is on a mission to free Joe's enslaved 'brides' and take them to the Green Place, the Land of Many Mothers.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

What Do Mad Max's Six Oscars Mean for the Australian Film Industry? Vincent O'Donnell , 2016 single work column
— Appears in: The Conversation , 1 March 2016;
'The career of Dr George Miller reminds me of that of Charles Chauvel, one of the greatest showmen of the Australian cinema. Both men – though separated by many decades – have employed epic cinematic forms and nationalistic themes. ...'
Melbourne on Film Philippa Hawker , 2013 single work column
— Appears in: The Age , 28 June 2013; (p. 26)
Australia : An Alternat(or) Future Brendan Lee , 2013 single work criticism
— Appears in: Making Worlds : Art and Science Fiction 2013; (p. 182-199)
Styles of National and Global Integration : Charting Media Transformations in Australian Cities Tom O'Regan , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 223-238)
'Australian film and television production is concentrated in two principal cities, Sydney and Melbourne, and dispersed among the metropolitan centres of Brisbane, Adelaide and Perth and the next rung of cities and regions including the Gold Coast, Canberra, Hobart and Darwin among others. National and international integration is reshaping the relations among, the television programming taking place within, and the production capabilities and infrastructures of these cities. This article considers the national distribution of screen production capabilities and how media design interests in their coordination, development and control of production activity interact with location interests seeking to sustain production work across these cities.' (Editor's abstract)
Crime Capital of Australia : The Gold Coast on Screen Stephen Stockwell , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 281-292)
'The Gold Coast has a crime problem, which will not come as a surprise to the viewers of the films and television programmes that feature Australia's sixth largest city. The vast majority of material set on the Gold Coast has criminal themes. The Gold Coast is an imagined city created, to a large degree, by a multiplicity of moving image artefacts produced by visitors. From the miles of amateur footage shot by tourists to pseudo-Hollywood blockbusters, the Gold Coast exists as a surf and sun paradise, at least in the minds of audiences around the world. However, analysis of a variety of moving image products suggests that not far behind the glitz and glamour of the beach-based boosterism is the grimy flip side of crime, corruption and desperation. This imagined paradise is encircled by sharks, both from the sea and the land. But the crime themes explored so far by the Gold Coast film industry do not address the real transgressions on which the city is founded, neither the deals that saw a city built on sand and swamp nor the dispossession of the original inhabitants.' (Editor's abstract)
The Corpse is in Australia, or The Cinematic Death of White Supremacy Thomas A. Foster , 2012 single work criticism
— Appears in: Senses of Cinema , September no. 64 2012;
Tribute to the Max Eddie Cockrell , 2011 single work column
— Appears in: The Weekend Australian , 10-11 December 2011; (p. 18-19)
'Eddie Cockrell meets a fan so in thrall to Mel Gibson’s outsider he built a museum — at home' (p.18).
An Apocalyptic Map : New Worlds and the Colonization of Australia Roslyn Weaver , 2011 single work criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 23-53)
'This chapter examines the map that preceded, and eventually superseded, the territory of Australia, in order to demonstrate that early maps of the south land established an apocalyptic tradition that still resonates in contemporary fictions. If one reinterprets Jean Baudrillard's comments in the context of colonization and Australia, it is possible to see how European imagination delineated an apocalyptic map of the country before explorers and settlers even arrived, a map that located Australia as a tabula rasa, a blank slate where heaven and hell might equally be feasible. This chapter surveys the dialectic emerging from these confliction visions.' (24)
An Apocalyptic Landscape : The Mad Max Films Roslyn Weaver , 2011 single work criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107)
In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83)
Driver of the (Post-) Apocalypse Mythic Paradigms in the Mad Ma Trilogy Ágnes Tóth , 2006 single work criticism
— Appears in: Zeitschrift fur Australienstudien , no. 20 2006; (p. 46-55)
Hell for Leather for a Cult Hero Adrian Martin , 2003 extract criticism (The Mad Max Movies)
— Appears in: The Sydney Morning Herald , 14-15 June 2003; (p. 10-11)
On the Beach, Until the End of the World Peter Hutchings , 1997 single work criticism
— Appears in: Australia and Asia : Cultural Transactions 1997; (p. 20-32)
Hell for Leather for a Cult Hero Adrian Martin , 2003 extract criticism (The Mad Max Movies)
— Appears in: The Sydney Morning Herald , 14-15 June 2003; (p. 10-11)
On the Beach, Until the End of the World Peter Hutchings , 1997 single work criticism
— Appears in: Australia and Asia : Cultural Transactions 1997; (p. 20-32)
Tribute to the Max Eddie Cockrell , 2011 single work column
— Appears in: The Weekend Australian , 10-11 December 2011; (p. 18-19)
'Eddie Cockrell meets a fan so in thrall to Mel Gibson’s outsider he built a museum — at home' (p.18).
An Apocalyptic Map : New Worlds and the Colonization of Australia Roslyn Weaver , 2011 single work criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 23-53)
'This chapter examines the map that preceded, and eventually superseded, the territory of Australia, in order to demonstrate that early maps of the south land established an apocalyptic tradition that still resonates in contemporary fictions. If one reinterprets Jean Baudrillard's comments in the context of colonization and Australia, it is possible to see how European imagination delineated an apocalyptic map of the country before explorers and settlers even arrived, a map that located Australia as a tabula rasa, a blank slate where heaven and hell might equally be feasible. This chapter surveys the dialectic emerging from these confliction visions.' (24)
An Apocalyptic Landscape : The Mad Max Films Roslyn Weaver , 2011 single work criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107)
In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83)
Driver of the (Post-) Apocalypse Mythic Paradigms in the Mad Ma Trilogy Ágnes Tóth , 2006 single work criticism
— Appears in: Zeitschrift fur Australienstudien , no. 20 2006; (p. 46-55)
Styles of National and Global Integration : Charting Media Transformations in Australian Cities Tom O'Regan , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 223-238)
'Australian film and television production is concentrated in two principal cities, Sydney and Melbourne, and dispersed among the metropolitan centres of Brisbane, Adelaide and Perth and the next rung of cities and regions including the Gold Coast, Canberra, Hobart and Darwin among others. National and international integration is reshaping the relations among, the television programming taking place within, and the production capabilities and infrastructures of these cities. This article considers the national distribution of screen production capabilities and how media design interests in their coordination, development and control of production activity interact with location interests seeking to sustain production work across these cities.' (Editor's abstract)
Crime Capital of Australia : The Gold Coast on Screen Stephen Stockwell , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 281-292)
'The Gold Coast has a crime problem, which will not come as a surprise to the viewers of the films and television programmes that feature Australia's sixth largest city. The vast majority of material set on the Gold Coast has criminal themes. The Gold Coast is an imagined city created, to a large degree, by a multiplicity of moving image artefacts produced by visitors. From the miles of amateur footage shot by tourists to pseudo-Hollywood blockbusters, the Gold Coast exists as a surf and sun paradise, at least in the minds of audiences around the world. However, analysis of a variety of moving image products suggests that not far behind the glitz and glamour of the beach-based boosterism is the grimy flip side of crime, corruption and desperation. This imagined paradise is encircled by sharks, both from the sea and the land. But the crime themes explored so far by the Gold Coast film industry do not address the real transgressions on which the city is founded, neither the deals that saw a city built on sand and swamp nor the dispossession of the original inhabitants.' (Editor's abstract)
The Corpse is in Australia, or The Cinematic Death of White Supremacy Thomas A. Foster , 2012 single work criticism
— Appears in: Senses of Cinema , September no. 64 2012;
Melbourne on Film Philippa Hawker , 2013 single work column
— Appears in: The Age , 28 June 2013; (p. 26)
Australia : An Alternat(or) Future Brendan Lee , 2013 single work criticism
— Appears in: Making Worlds : Art and Science Fiction 2013; (p. 182-199)
What Do Mad Max's Six Oscars Mean for the Australian Film Industry? Vincent O'Donnell , 2016 single work column
— Appears in: The Conversation , 1 March 2016;
'The career of Dr George Miller reminds me of that of Charles Chauvel, one of the greatest showmen of the Australian cinema. Both men – though separated by many decades – have employed epic cinematic forms and nationalistic themes. ...'
Last amended 1 Jun 2012 09:50:19
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