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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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Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films
2017
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.
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Countdown : Australia's Top Ten Sci-Fi Films
2017
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— Appears in: FilmInk , 20 April 2017; -
The 100 Best Australian Films of the New Millenium
2016
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column
— Appears in: FilmInk , 22 September 2016; -
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) -
Joel's Last Chance
2015
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column
— Appears in: The Advertiser , 15 August 2015; (p. 14)
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On the Road
2014
single work
review
— Appears in: The Monthly , June no. 101 2014; (p. 53-54)
— Review of The Rover 2013 single work film/TV -
Message Amid the Madness
2014
single work
review
— Appears in: The Sydney Morning Herald , 7-8 June 2014; (p. 21)
— Review of The Rover 2013 single work film/TV -
Plot Lost in the Bush
2014
single work
review
— Appears in: The Courier-Mail , 12 June 2014; (p. 30)
— Review of The Rover 2013 single work film/TV -
Dark Serving of Our Dystopia
2014
single work
review
— Appears in: The Canberra Times , 13 June 2014; (p. 6)
— Review of The Rover 2013 single work film/TV -
The Rover Review – An Australian Road Movie that Runs out of Road
2014
single work
review
— Appears in: The Guardian Australia , 12 June 2014;
— Review of The Rover 2013 single work film/TV -
Pattinson's New Role Shows He's Come a Long Way Since Twilight
2013
single work
column
— Appears in: The Sun-Herald , 17 March 2013; (p. 20-21) The Sunday Age , 17 March 2013; (p. 9) -
Lights, Camera, Action for State's Resurgent Industry : Cinema's New Wave is On a Roll
2013
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— Appears in: The Australian , 8 May 2013; (p. 14) -
Cannes Do Attitude
2013
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— Appears in: The Sunday Mail , 26 May 2013; (p. 18-19) 'Away from the glitz of the red carpet, there are plenty of Australian filmmakers working hard to launch a career, writes Liam FitzGibbon in Cannes.' -
LA's Night of Nights for Aussie Film Stars
2013
single work
— Appears in: The Courier-Mail , 26 October 2013; (p. 47) -
Michod and de Heer Films in Competition in Cannes
2014
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— Appears in: The Sydney Morning Herald , 19-20 April 2014; (p. 12)
Awards
- 2015 nominated AFCA Film Awards — Best Director
- Australian Outback, Central Australia,