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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Cameraman in the Frame
2012
single work
column
— Appears in: The Courier-Mail , 19 January 2012; (p. 11) -
Wogboy Comedies and the Australian National Type
2009
single work
criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 73-82)'Popular Australian film comedy since the early 1970s has been dominated by reinventions of the national type. These reinventions involve transformations of the urban larrikin and the bush battler, first established in silent film classics such as The Sentimental Bloke (Raymond Longford 1919) and in Cinesound Studio's Rudd family comedies of the 1930s, directed by Ken G. Hall. These comic types continue to surface in popular film and television as the larrikin, ocker or decent Aussie bloke, exemplified in the 1970s by Bazza McKenzie, in the 1980s by Crocodile Dundee, in the 1990s by Darryl Kerrigan in The Castle, and most recently by cable TV showman Steve Irwin until his untimely death in 2006. Yet despite decades of multiculturalism, little attention has been paid to the impact of post-war, non -British immigration on Australian comic types. This chapter examines three popular comedies which champion ethnically marked characters as either 'New Australians' (They're a Weird Mob, Michael Powell 1966), 'wogboys' (The Wog Boy, Alexsi Vellis 2000) or `chockos' (Fat Pizza, Paul Fenech 2003). It asks whether 'wogboys' and 'chockos' - as diasporic, multicultural or new world comic types - have trumped the larrikins and ockers of Australian screen comedy, or whether 'wogsploitation' films are popular with Australian film and television audiences precisely because they tap into a long. standing national type without disturbing its key characteristics.' (Publication abstract)
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The Adventures of Barry McKenzie : Comedy, Satire and Nationhood in 1972
1996
single work
criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 10 no. 2 1996; (p. 123-140)
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Wogboy Comedies and the Australian National Type
2009
single work
criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 73-82)'Popular Australian film comedy since the early 1970s has been dominated by reinventions of the national type. These reinventions involve transformations of the urban larrikin and the bush battler, first established in silent film classics such as The Sentimental Bloke (Raymond Longford 1919) and in Cinesound Studio's Rudd family comedies of the 1930s, directed by Ken G. Hall. These comic types continue to surface in popular film and television as the larrikin, ocker or decent Aussie bloke, exemplified in the 1970s by Bazza McKenzie, in the 1980s by Crocodile Dundee, in the 1990s by Darryl Kerrigan in The Castle, and most recently by cable TV showman Steve Irwin until his untimely death in 2006. Yet despite decades of multiculturalism, little attention has been paid to the impact of post-war, non -British immigration on Australian comic types. This chapter examines three popular comedies which champion ethnically marked characters as either 'New Australians' (They're a Weird Mob, Michael Powell 1966), 'wogboys' (The Wog Boy, Alexsi Vellis 2000) or `chockos' (Fat Pizza, Paul Fenech 2003). It asks whether 'wogboys' and 'chockos' - as diasporic, multicultural or new world comic types - have trumped the larrikins and ockers of Australian screen comedy, or whether 'wogsploitation' films are popular with Australian film and television audiences precisely because they tap into a long. standing national type without disturbing its key characteristics.' (Publication abstract)
-
The Adventures of Barry McKenzie : Comedy, Satire and Nationhood in 1972
1996
single work
criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 10 no. 2 1996; (p. 123-140) -
Cameraman in the Frame
2012
single work
column
— Appears in: The Courier-Mail , 19 January 2012; (p. 11)