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AbstractHistoryArchive Description
Darren 'Dazza'” Cook is the patriarch of a suburban Aussie family specialising in barbecuing, claiming that his ancestor was none other than the famed British explorer, Captain James Cook who introduced the “barbacoa” to Australia. Darren’s partner DIANE secretly wishes he would pull back on their weekly Saturday BBQs in order to spend more quality time with the family. But one Saturday, Dazza accidentally gives his neighbours food poisoning and the local magistrate orders him to attend a food safety course with The Butcher, an infamously demanding Scot. Together they enter an international barbecue competition in order to reclaim Dazza’s reputation. But Dazza must battle egotistical French chef, Andre Mounteblanc to win BBQ glory. The steaks don’t get much higher! (Screen Australia)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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The Next Suburb Over
2018
single work
essay
— Appears in: Sydney Review of Books , June 2018;'A continual thread of thoughtful reflection that connects the suburbs to Australian national identity. It harks back, in particular, to a discursive moment just after the second world war, when suburbia as a demographic reality and set of lifestyle choices sprawled into new territory. The 1950s was ‘the suburban moment’, a moment which was seen as the owl of Minerva flew at dusk, when writers like Donald Horne and Robyn Boyd expressed a mood of intellectual despair a decade later, and took evident pleasure in negating ‘the common man’. They, and others, were reflecting on the sudden material changes, on how the car, television, bungalow became the norm, when Australia lost something fundamental in the dialectic of its suburbanisation.' (Introduction)
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Political Correctness 'stifling Australian Cinema' as Indie Filmmakers Rebound in Adelaide
2018
single work
column
— Appears in: ABC News [Online] , March 2018;'Mention the modern-day Australian film industry and you'll likely elicit a groan as frames of the same actors performing cliché roles, safe plotlines and token ideology flick through the mind with stop motion predictability.' (Introduction)
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Shane Jacobson : Bloke with a Barbie
Travis Johnson
(interviewer),
2018
single work
interview
— Appears in: FilmInk , 22 February 2018; -
The BBQ Review – Shane Jacobson's Likability Can't Save Gallingly Unfunny 'Comedy'
2018
single work
review
— Appears in: The Guardian Australia , 21 February 2018;'It’s filled with racial stereotypes, dumb dialogue and inept subplots, and few things about Stephen Amis’s film make sense.'
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2018 Australian Film Focus : The BBQ
2017
single work
column
— Appears in: FilmInk , 31 December 2017;
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2018 Australian Film Focus : The BBQ
2017
single work
column
— Appears in: FilmInk , 31 December 2017; -
The BBQ Review – Shane Jacobson's Likability Can't Save Gallingly Unfunny 'Comedy'
2018
single work
review
— Appears in: The Guardian Australia , 21 February 2018;'It’s filled with racial stereotypes, dumb dialogue and inept subplots, and few things about Stephen Amis’s film make sense.'
-
Shane Jacobson : Bloke with a Barbie
Travis Johnson
(interviewer),
2018
single work
interview
— Appears in: FilmInk , 22 February 2018; -
Political Correctness 'stifling Australian Cinema' as Indie Filmmakers Rebound in Adelaide
2018
single work
column
— Appears in: ABC News [Online] , March 2018;'Mention the modern-day Australian film industry and you'll likely elicit a groan as frames of the same actors performing cliché roles, safe plotlines and token ideology flick through the mind with stop motion predictability.' (Introduction)
-
The Next Suburb Over
2018
single work
essay
— Appears in: Sydney Review of Books , June 2018;'A continual thread of thoughtful reflection that connects the suburbs to Australian national identity. It harks back, in particular, to a discursive moment just after the second world war, when suburbia as a demographic reality and set of lifestyle choices sprawled into new territory. The 1950s was ‘the suburban moment’, a moment which was seen as the owl of Minerva flew at dusk, when writers like Donald Horne and Robyn Boyd expressed a mood of intellectual despair a decade later, and took evident pleasure in negating ‘the common man’. They, and others, were reflecting on the sudden material changes, on how the car, television, bungalow became the norm, when Australia lost something fundamental in the dialectic of its suburbanisation.' (Introduction)