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Affiliation Notes
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Preppers and Survivalism in the AustLit Database
This work has been affiliated with the Preppers and Survivalism project due to its relationship to either prepping or prepper-inflected survivalism more generally, and contains one or more of the following:
1. A strong belief in some imminent threat
2. Taking active steps to prepare for that perceived threat- A range of activities not necessarily associated with ‘prepping’ take on new significance, when they are undertaken with the express purpose of preparing for and/or surviving perceived threats, e.g., gardening, abseiling.
- The plausibility of the threat, and the relative “reasonable-ness” of the response, don’t affect this definition. E.g., if someone is worried about climate change and climate disasters, and they respond by moving from a riverbank location in Cairns, or to a highland region of New Zealand, this makes them a prepper. If someone else is worried about brainwashing rays from outer space, and they respond by making a tinfoil hat, that makes them a prepper.
3. A character or characters (or text) who self-identify as a ‘prepper’, or some synonymous/modified term: ‘financial preppers’, ‘weekend preppers’, ‘fitness preppers’, etc.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Zak Hilditch : From These Final Hours to 1922 and Beyond
2017
single work
column
— Appears in: FilmInk , 12 December 2017; -
Cinema Plus : Robert Connolly and Event Audience Screenings
2017
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 77-84)This article discusses the problems that Australian films face in the big distribution model, and ways that producers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly's Cinema Plus exhibition company. Although there is a historical precedence set for Connolly's self distribution venture, this shift to rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of the porous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separate pools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way to reach the widest possible audience.
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Countdown : Australia's Top Ten Sci-Fi Films
2017
single work
column
— Appears in: FilmInk , 20 April 2017; -
Greener Pastures and Tangled Gums : The Rise of Australian Eco-fiction
2016
single work
criticism
— Appears in: Overland [Online] , December 2016; 'The Australian environment has long been treated as an enigma by a large portion of the non-Indigenous public. For many Australians residing in cities and suburbs, the natural world exists as an entity entirely separate to the goings-on of the everyday. Rural, sweeping pastures and the ‘barren’ outback are often what come to mind for those who do not or are unable to make a conscious effort to engage with nature. A short but destructive history of mining, agriculture, logging and reef-bleaching has left little of our unique biodiversity intact, and current political trends demonstrate a disinclination to ecologically minded policy.' (Introduction) -
Post-apocalypse Now : Australia as Cinema's Dystopia
2015
single work
criticism
— Appears in: Metro Magazine , Autumn no. 184 2015; (p. 90-95)'Australia has long enjoyed a relationship with the notion of the end of the world, with an array of texts situating such a scenario on the island continent. Glenn Dunks explores the lineage of the Australian post-apocalyptic film and dives into each title's take on how the world's downfall arrives down under.'
Source: Publisher's blurb.
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End of the World As We Know It
2014
single work
review
— Appears in: The Australian , 23 July 2014; (p. 14)
— Review of These Final Hours 2013 single work film/TV -
The Final Countdown
A Party to End All Parties
2014
single work
review
— Appears in: The Sydney Morning Herald , 26-27 July 2014; (p. 14) The Canberra Times , 26 July 2014; (p. 17)
— Review of These Final Hours 2013 single work film/TV 'An apocalyptic love letter has brought an Australian director international acclaim, writes Garry Maddox.' -
At World's End, Yours and Mine
2014
single work
review
— Appears in: The Weekend Australian , 26-27 July 2014; (p. 15)
— Review of These Final Hours 2013 single work film/TV ; Once My Mother 2014 single work film/TV -
Home Is Where the Heart Is
2014
single work
review
— Appears in: The Courier-Mail , 31 July 2014; (p. 31)
— Review of These Final Hours 2013 single work film/TV -
Just One Blast Hurrah
2014
single work
review
— Appears in: The Courier-Mail , 31 July 2014; (p. 32) The Advertiser , 31 July 2014; (p. 46)
— Review of These Final Hours 2013 single work film/TV -
WA Director Gets Best Feature Award
2013
single work
column
— Appears in: The Sydney Morning Herald , 15 August 2013; (p. 20) -
Bespoke Movies Resist Cinema's Curtain Call
2013
single work
column
— Appears in: The Australian , 30 October 2013; (p. 13) -
Aussies Centre Stage in Cannes
2014
single work
column
— Appears in: The Sunday Mail , 11 May vol. 11 May no. 2014; (p. 80) -
Australia Remains the Perfect Place to Make Films About the End of the World
2014
single work
column
— Appears in: The Age , 21 May 2014; The Sydney Morning Herald , 21 May 2014; -
Box Office Blues
2014
single work
column
— Appears in: The Age , 8 August 2014; (p. 9)
Awards
- 2013 winner Melbourne International Film Festival Award — Best Australian Feature Awarded $5000 from The Age's critics