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Screen cap from promotional trailer
form y separately published work icon Sanctum single work   film/TV  
Note: Co-written with dive instructor John Garvin.
Issue Details: First known date: 2011... 2011 Sanctum
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AbstractHistoryArchive Description

The 3-D action-thriller Sanctum follows a team of underwater cave divers on a treacherous expedition to the largest, most beautiful and least accessible cave system on Earth. When a tropical storm forces them deep into the caverns, they must fight raging water, deadly terrain and creeping panic as they search for an unknown escape route to the sea. Master diver Frank McGuire has explored the South Pacific's Esa-ala Caves for months. But when his exit is cut off in a flash flood, Frank's team-including 17-year-old son Josh and financier Carl Hurley are forced to radically alter plans. With dwindling supplies, the crew must navigate an underwater labyrinth to make it out. Soon, they are confronted with the unavoidable question: Can they survive, or will they be trapped forever?' (Source: Internet Movie Database)

Publication Details of Only Known VersionEarliest 2 Known Versions of

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Works about this Work

y separately published work icon Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , London : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.
Dog of a Year for Box Office but Wizard Works His Usual Magic Michael Bodey , 2012 single work column
— Appears in: The Australian , 23 January 2012; (p. 3)
Parables of Pacific Shores : Locations, Caves and Coastal Masculinities in Cast Away and Sanctum Allison Craven , 2011 single work criticism
— Appears in: Etropic : Electronic Journal of Studies in the Tropics , no. 10 2011; (p. 158-165) 'If one should imagine a map of production locations for dive films or films set on tropical islands since the 1960s, it would likely show a trend towards the southern hemisphere and more recently towards Queensland. Creative industries development in Queensland has been stimulated partly by state bodies, namely the Pacific Film and Television Commission, and Screen Queensland; and the presence of Warner Roadshow Studios on the Gold Coast, and filmmakers have also been attracted more recently by production offsets from Screen Australia. There is dim connection to the classical geography of the Antipodes as the underside of the world and a place of monsters.' (Author's introduction)
Faking It David Stratton , 2011 single work review
— Appears in: The Weekend Australian , 19-20 February 2011; (p. 17)
— Review of Sanctum Andrew Wight , 2011 single work film/TV
Under Water World Chris Hook , 2011 single work column
— Appears in: The Courier-Mail , 10 February 2011; (p. 4)
Faking It David Stratton , 2011 single work review
— Appears in: The Weekend Australian , 19-20 February 2011; (p. 17)
— Review of Sanctum Andrew Wight , 2011 single work film/TV
Up Close and Personal Rodney Chester , 2011 single work column
— Appears in: The Courier-Mail , 7 February 2011; (p. 24)
Under Water World Chris Hook , 2011 single work column
— Appears in: The Courier-Mail , 10 February 2011; (p. 4)
Dog of a Year for Box Office but Wizard Works His Usual Magic Michael Bodey , 2012 single work column
— Appears in: The Australian , 23 January 2012; (p. 3)
Parables of Pacific Shores : Locations, Caves and Coastal Masculinities in Cast Away and Sanctum Allison Craven , 2011 single work criticism
— Appears in: Etropic : Electronic Journal of Studies in the Tropics , no. 10 2011; (p. 158-165) 'If one should imagine a map of production locations for dive films or films set on tropical islands since the 1960s, it would likely show a trend towards the southern hemisphere and more recently towards Queensland. Creative industries development in Queensland has been stimulated partly by state bodies, namely the Pacific Film and Television Commission, and Screen Queensland; and the presence of Warner Roadshow Studios on the Gold Coast, and filmmakers have also been attracted more recently by production offsets from Screen Australia. There is dim connection to the classical geography of the Antipodes as the underside of the world and a place of monsters.' (Author's introduction)
y separately published work icon Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , London : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.
VIEW ALL WORKS ABOUT (6)
Last amended 6 Feb 2014 11:51:18
Alister Grierson
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