In this sequel to the original Mad Max, Max finds himself involved with a small group of settlers who live around a small working oil refinery, producing that most precious of products in a post-apocalyptic society: petrol.
'They came dressed as War Boys. They showed off custom-built vehicles from the Mad Max movies, including both the old and new versions of the famous Interceptor. They battled in the Thunderdome – with foam weapons.'
'The seventh Wasteland Weekend in the Mojave Desert in California showed how much George Miller's series of action movies are resonating a long way from their origins in Australia. ...'
'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.
In this essay Tom O'Regan explores the Australian film industry in relation to filmmaking, audiences and government influence. 'It would be difficult to find a more interesting period in Australian film history than the 1980s,' he writes. 'There was the experiment of a government inspired tax shelter: the so-called tax incentives which provided levels of production funding and activity that had been hitherto unheard of in Australian film production. The average number of feature films made per year doubled from 15 in the 1970s to 27 in the 1980s when some 65 mini-series were also made. Additionally the budgets for all these rose sharply. The incentives exempted film production from the full pressures of the market. They permitted the industry to withstand the pressures for internationalisation by providing cheap finance and insisting on Australian creative control to secure the tax benefits.'
The 1980s saw a boom in the production television mini-series, including Vietnam (1987), and the release of several blockbusters, the most significant being Mad Max 2 (1981), Gallipoli (1981), The Man from Snowy River (1982), and the international box-office hit, Crocodile Dundee (1986). It was also an era when Australia's art cinema flourished, principally through the works of Paul Cox.
Not Quite Hollywood is the story of Ozploitation.
More explicit, violent and energetic than anything out of Hollywood, Aussie genre movies such as Alvin Purple, The Man From Hong Kong, Patrick, Mad Max and Turkey Shoot presented a unique take on established cinematic conventions.
In England, Italy and the grindhouses and Drive-ins of North America, audiences applauded our homegrown marauding revheads with their brutish cars; our sprnky well-stacked heroines and our stunts - unparalleled in their quality and extreme danger!
Busting with outrageous anecdotes, trivia and graphic poster art - and including isights from key cast, crew and fans - including Quentin Tarantino - this is the wild, untold story of an era when Aussie cinema got its gear off and showed the world a full-frontal explosion of boobs, pubes, tubes...and even a little kung fu!