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AbstractHistoryArchive Description
'HEY HEY IT’S ESTHER BLUEBURGER – a smart, rueful and dead-on portrait of life’s unending quest to fit in… and the girl who solves it by completely breaking out – introduces a feisty outsider hero unlike any other seen on screen. Esther Blueburger’s quest begins when she escapes from her Bat Mitzvah party and is befriended by Sunni, the effortlessly cool girl who is everything Esther thinks she wants to be. With the help of Sunni, Esther goes AWOL from her ordinary life and leaves behind her malfunctioning Jewish family to hang out with Sunni’s far breezier and super-hip single mum Mary and attend Sunni’s forbidden public school as a Swedish exchange student.'
Source: Screen Australia.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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'Jesus! A Geriatric - That's All I Need!' : Learning to Come of Age With/in Popular Australian Film
2011
single work
criticism
— Appears in: Global Studies of Childhood , vol. 1 no. 4 2011; (p. 332-342)'Popular film texts are powerful means by which Western societies construct, maintain, protect and challenge concepts of childhood and youth-hood. As a context where audiences learn about the self, their culture, and their place within it, popular film is understood here as pedagogic, that is, as a space where key lessons about the formation of subjecthood might take place, and at what costs. This article takes into account scholarship on popular culture as pedagogy, challenging narrow notions of popular film as a simple transmission of knowledge. Focused on how pedagogies might be at work, this article explores the use of humour, repetition, otherness, becoming and sentimentality within a selection of Australian films, and how they orientate audiences towards knowing the youth subject in particular ways. Questions of generation and how it is constructed as a commonsense battle between ‘young’ and ‘old’ are considered through the coming-of-age films, The Rage in Placid Lake (2003), Hey Hey It’s Esther Blueburger (2008), Crackers (1998) and Spider & Rose (1994).'
Source: Author's abstract.
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Untitled
2008
single work
review
— Appears in: The Weekend Australian , 20-21 September 2008; (p. 25)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
Screen Turkeys Deserve Roast
2008
single work
column
— Appears in: Herald Sun , 28 March 2008; (p. 34) -
Charming but Creepy
2008
single work
review
— Appears in: The Courier-Mail , 20 March 2008; (p. 5)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
Tale of a Noble Nerd
2008
single work
review
— Appears in: The Sydney Morning Herald , 21 March 2008; (p. 14)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV
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Hey, Hey, Give Esther a Break
2008
single work
review
— Appears in: The West Australian , 26 March 2008; (p. 10)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
The 14-Year-Old Virgin
2008
single work
review
— Appears in: The Weekend Australian , 22-23 March 2008; (p. 22)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
Tale of a Noble Nerd
2008
single work
review
— Appears in: The Sydney Morning Herald , 21 March 2008; (p. 14)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
Charming but Creepy
2008
single work
review
— Appears in: The Courier-Mail , 20 March 2008; (p. 5)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
Untitled
2008
single work
review
— Appears in: The Weekend Australian , 20-21 September 2008; (p. 25)
— Review of Hey Hey It's Esther Blueburger 2008 single work film/TV -
Esther Fights the Old Guard
2008
single work
column
— Appears in: The West Australian , 2 April 2008; (p. 2) -
Screen Turkeys Deserve Roast
2008
single work
column
— Appears in: Herald Sun , 28 March 2008; (p. 34) -
'Jesus! A Geriatric - That's All I Need!' : Learning to Come of Age With/in Popular Australian Film
2011
single work
criticism
— Appears in: Global Studies of Childhood , vol. 1 no. 4 2011; (p. 332-342)'Popular film texts are powerful means by which Western societies construct, maintain, protect and challenge concepts of childhood and youth-hood. As a context where audiences learn about the self, their culture, and their place within it, popular film is understood here as pedagogic, that is, as a space where key lessons about the formation of subjecthood might take place, and at what costs. This article takes into account scholarship on popular culture as pedagogy, challenging narrow notions of popular film as a simple transmission of knowledge. Focused on how pedagogies might be at work, this article explores the use of humour, repetition, otherness, becoming and sentimentality within a selection of Australian films, and how they orientate audiences towards knowing the youth subject in particular ways. Questions of generation and how it is constructed as a commonsense battle between ‘young’ and ‘old’ are considered through the coming-of-age films, The Rage in Placid Lake (2003), Hey Hey It’s Esther Blueburger (2008), Crackers (1998) and Spider & Rose (1994).'
Source: Author's abstract.
