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AbstractHistoryArchive Description
Notes
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John Palmer contributed to both the screenplay and the song lyrics. Additional lyrics were contributed by Marion von Adlerstein and Bob Young.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Landscapes as Identity and Cultural Heritage in Animation – The Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes
2019
single work
criticism
— Appears in: Landscapes , vol. 9 no. 1 2019;'Animation adapted from literature, folk tales and ancient myths showcases diverse approaches towards reimagining elements of geographical landscapes as cultural identity. This paper aims to compare elements from Australian, Japanese and European animated works where geographical elements are used in order to recreate the original world of the literary work the animation is based on, where landscape defines the identity of the individuals and groups of enchanted animals and human custodians of the land and location. Case studies of Yoram Gross (Dot and the Kangaroo, 1977) Australia, Takahata Isao / Studio Ghibli (Racoon Wars Pom Poko, 1994) Japan and Marcell Jankovics (Song of the Miraculous Doe, 2002) Hungary will provide examples of the creative use of geographical elements to represent changing cultural landscapes and identities as portrayed in animation.' (Publication abstract)
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Five Great Australian Children's Movies : from Babe to BMX Bandits
2015
single work
review
— Appears in: The Guardian Australia , 31 October 2015;
— Review of Babe 1995 single work film/TV ; BMX Bandits 1983 single work film/TV ; Dot and the Kangaroo 1977 single work film/TV ; Storm Boy 1976 single work film/TV ; Red Dog 2011 single work film/TV -
Australian Fairy-tale Films
2015
single work
criticism
— Appears in: Fairy-Tale Films Beyond Disney : International Perspectives 2015; (p. 233-245) 'In this chapter's first section, we explain why we do not include Aboriginal narratives and, therefore, why we focus on the European fairy-tale tradition's influence in regard to the Australian fairy-tale literature of the 1890s and the films we later discuss. We draw attention to the recurring trope of the "lost child" as a signifier of the anxieties of colonial identity. The centrality of national identity in Australian cinema, complicated by the fluctuating fortunes of the domestic film industry, has also had an impact on the production of fairy-tale films in Australia. We outline these matters in the second section, where we survey a range of fairy-tale films made since the 1970s, asking what makes a fairy-tale film Australian. Finally, we present three studies based on what we identify as the dominant and emergent features of Australian fairy-tale films. Our aim is to be representative, not comprehensive, and to focus on films that are distinctly Australian in flavour. The first study returns to the lost-child figure. The second discusses revisionist fairy-tale films, focusing on how an Australian cultural disposition inflects the "happily ever after" ending. The last study discusses recent developmental short films, which we suggest may herald the birth of uniquely Australian fairy tales.' (pp.233-234) -
Two Animators : Yoram Gross
Antoinette Starkiewicz
(interviewer),
1984
single work
interview
— Appears in: Cinema Papers , no. 48 1984; (p. 335-338) Interview with Yoram Gross. -
'Dot and the Kangaroo'
1977
single work
review
— Appears in: Sun Herald , 18 December 1977; (p. 62)
— Review of Dot and the Kangaroo 1977 single work film/TV
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'Dot and the Kangaroo'
1977
single work
review
— Appears in: Sun Herald , 18 December 1977; (p. 62)
— Review of Dot and the Kangaroo 1977 single work film/TV -
Five Great Australian Children's Movies : from Babe to BMX Bandits
2015
single work
review
— Appears in: The Guardian Australia , 31 October 2015;
— Review of Babe 1995 single work film/TV ; BMX Bandits 1983 single work film/TV ; Dot and the Kangaroo 1977 single work film/TV ; Storm Boy 1976 single work film/TV ; Red Dog 2011 single work film/TV - y Dot and the Kangaroo Sydney : Australian Broadcasting Commission , 1977 Z1365625 1977 single work criticism Discussion of the full length animated movie directed and co-written by Yoram Goss, based on Ethel Pedley's book, including a review by John Hend.
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Two Animators : Yoram Gross
Antoinette Starkiewicz
(interviewer),
1984
single work
interview
— Appears in: Cinema Papers , no. 48 1984; (p. 335-338) Interview with Yoram Gross. -
Landscapes as Identity and Cultural Heritage in Animation – The Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes
2019
single work
criticism
— Appears in: Landscapes , vol. 9 no. 1 2019;'Animation adapted from literature, folk tales and ancient myths showcases diverse approaches towards reimagining elements of geographical landscapes as cultural identity. This paper aims to compare elements from Australian, Japanese and European animated works where geographical elements are used in order to recreate the original world of the literary work the animation is based on, where landscape defines the identity of the individuals and groups of enchanted animals and human custodians of the land and location. Case studies of Yoram Gross (Dot and the Kangaroo, 1977) Australia, Takahata Isao / Studio Ghibli (Racoon Wars Pom Poko, 1994) Japan and Marcell Jankovics (Song of the Miraculous Doe, 2002) Hungary will provide examples of the creative use of geographical elements to represent changing cultural landscapes and identities as portrayed in animation.' (Publication abstract)
-
Australian Fairy-tale Films
2015
single work
criticism
— Appears in: Fairy-Tale Films Beyond Disney : International Perspectives 2015; (p. 233-245) 'In this chapter's first section, we explain why we do not include Aboriginal narratives and, therefore, why we focus on the European fairy-tale tradition's influence in regard to the Australian fairy-tale literature of the 1890s and the films we later discuss. We draw attention to the recurring trope of the "lost child" as a signifier of the anxieties of colonial identity. The centrality of national identity in Australian cinema, complicated by the fluctuating fortunes of the domestic film industry, has also had an impact on the production of fairy-tale films in Australia. We outline these matters in the second section, where we survey a range of fairy-tale films made since the 1970s, asking what makes a fairy-tale film Australian. Finally, we present three studies based on what we identify as the dominant and emergent features of Australian fairy-tale films. Our aim is to be representative, not comprehensive, and to focus on films that are distinctly Australian in flavour. The first study returns to the lost-child figure. The second discusses revisionist fairy-tale films, focusing on how an Australian cultural disposition inflects the "happily ever after" ending. The last study discusses recent developmental short films, which we suggest may herald the birth of uniquely Australian fairy tales.' (pp.233-234)
- Bush,