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form y separately published work icon Japanese Story single work   film/TV  
Issue Details: First known date: 2002... 2002 Japanese Story
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AbstractHistoryArchive Description

'Sandy, a geologist, finds herself stuck on a field trip to the Pilbara desert with a Japanese man she finds inscrutable, annoying and decidedly arrogant. Hiromitsu's view of her is not much better. Things go from bad to worse when they become stranded in one of the most remote regions on earth. JAPANESE STORY is a journey of change and discovery for its two lead characters.'

Source: Screen Australia.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Fitzroy, Fitzroy - Collingwood area, Melbourne - North, Melbourne, Victoria,: Gecko Films , 2002 .
      Extent: 100 l.p.
      Description: typescript (photocopy)
      (Manuscript) assertion
      • Revised release script, July 2002.


      Held at: University of Queensland University of Queensland Library Fryer Library
      Location: The Hanger Collection of Australian Playscripts
      Local Id: H2109

Works about this Work

The 100 Best Australian Films of the New Millenium Erin Free , Dov Kornits , Travis Johnson , 2016 single work column
— Appears in: FilmInk , 22 September 2016;
Colonial Mythology in Twenty-First Century Australian Film Ben Chapman , 2014 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 8 no. 1 2014; (p. 16-33)
'This article explores the changing nature of representations of the landscape in Australian film. It focuses on how these myths are changing in the recent films Japanese Story and Red Dog. It charts the ways that the two films represent changes to the mythological base of Australian film, as it is outlined by Ross Gibson in his book South of the West: Postcolonialism and the Narrative Construction of Australia. It also charts the way these films continue the tradition that Gibson outlines. The article criticises analysis of some recent Australian film, claiming that the analysis is too focused on emerging stories that relate to indigenous reconciliation and multicultural integration. It suggests that the methodologies used to examine landscape in Australian film need to examine visual constructions of the landscape in order to fully understand the complex process that goes into its formation in film. The article also engages in a discussion of the development of monolithic ideas of Australian identity in the twentieth century and how mining mythology in the films studied is co-opting elements of this identity. It then discusses the ways in which cultural power interacts with the political and economic spheres suggesting a wider application for work concerning cultural knowledge of society.' (Publication summary)
y separately published work icon Reel Locations : The Ultimate Travel Guide to Aussie Films Anthony Roberts , Prahran : Explore Australia , 2011 Z1793927 2011 single work prose travel 'Did you know that because baby pigs grow at an alarming rate, 48 pigs were used for the filming of Babe? Or that the town of Poowong in South Gippsland was selected for the premier of Kenny? Reel Locations: The Ultimate Travel Guide to Aussie Films is a book for anyone with an interest in Australian films - and for those wanting to relive the magic that was created. Covering 20 iconic Australian flicks, film buff Anthony Roberts not only details what locations were used for particular scenes, but also offers travel information on what you'll see if you visit these locations now, as well as where to eat and where to stay. A vibrant design, film stills and many quirky facts round out this enjoyable book that is ideal for both armchair travellers and eager tourists.' (Publisher's blurb)
An Australian Tale in a Japanese Story : Reading the National in Sue Brook’s Japanese Story Chew Yi Wei , 2010 single work criticism
— Appears in: Journal of Post-Colonial Cultures and Societies , January vol. 1 no. 1 2010; (p. 56-67)
'Sue Brook's film, Japanese Story (2003) lends itself to many peculiarities. Upon hearing its title and having some perfunctory knowledge of its association with Australia, one might - due to this overt incongruity - be tempted to assume the film to be either an exercise in the nation's exoticisation of Japan, or even likening it to a Japanese production. Less impetuously and pejoratively, some would think it a film typically belonging to the pantheon of the transnational due to the presence of a Japanese actor in a supposedly all-Australian cast. Yet, should a deeper study be effected, we find Japanese Story to be substantially complex and more problematic than that, leaving the above suppositions surface and simplistic. In Japanese Story, polymorphous and fluid (conceptual) worlds imbricate and synthesise, forming a melange thick with complexity, movement and definitional subjectivity. Owing to the presence of Asian characters in the film and the external but consonant dialogue on Australia-Asia relations, the positions of Japanese Story in the film industry both nationally and transnationally are also inescapably implicated. My task however will be to argue for Japanese Story as being quintessentially national though it may not possess any ostensible nationalistic overtones. Before I proceed with an analysis of the film, contextualisation in terms of Australia-Asia relations and national cinema is a necessity: both these concepts are inextricably connected and therefore jointly scrutinised.' (Author's introduction)
Re-Envisioning the Japanese : 'The Goddess of 1967' and 'Japanese Story' Dennis Haskell , 2010 single work criticism
— Appears in: Australian Made : A Multicultural Reader 2010; (p. 127-136)
'One key aspect of the revaluation of Australian identity in the last thirty years has been a reconsideration of Australia's relationships with Asia. This paper takes up this issue in relation to Japan, for many years Australia's largest economic trading partner, through examination of two Australian films, The Goddess of 1967 (2000) and Japanese Story (2004).' (p. 127).
Memoirs of a Sheila Paul Byrnes , 2003 single work review
— Appears in: The Sydney Morning Herald , 20-21 September 2003; (p. 10)

— Review of Japanese Story Alison Tilson , 2002 single work film/TV
Film of the Week Tom Ryan , 2003 single work review
— Appears in: The Sunday Age , 21 September 2003; (p. 8)

— Review of Japanese Story Alison Tilson , 2002 single work film/TV
Intimacy in the Outback Peter Crayford , 2003 single work review
— Appears in: The Australian Financial Review , 20-21 September 2003; (p. 40)

— Review of Japanese Story Alison Tilson , 2002 single work film/TV
Bad Moon Rising Craig Mathieson , 2003 single work review
— Appears in: The Bulletin , 30 September vol. 121 no. 6392 2003; (p. 86)

— Review of Japanese Story Alison Tilson , 2002 single work film/TV
Collette Mines Deep Emotions Evan Williams , 2003 single work review
— Appears in: The Weekend Australian , 27-28 September 2003; (p. 11)

— Review of Japanese Story Alison Tilson , 2002 single work film/TV
Comedy Dominates Awards Fiona Villella , 2003 single work column
— Appears in: Muse , November no. 234 2003; (p. 19)
Japanese Stories Brian McFarlane , 2004 single work criticism
— Appears in: Meanjin , vol. 63 no. 2 2004; (p. 88-95)
Personal Best Jo Litson , 2003 single work criticism
— Appears in: Limelight , October 2003; (p. 26-29)
Geologist or Geisha? Disorienting Body and Landscape in Japanese Story Jane O'Sullivan , 2004 single work criticism
— Appears in: Antipodes , December vol. 18 no. 2 2004; (p. 140-146)
Ordinary Australian Orientalisms: Racialised and Gendered Approaches to the Turtle Beach Texts in Australia's Ambivalence Towards Asia Goldie Osuri , 2004 single work criticism
— Appears in: Borderlands , vol. 3 no. 3 2004;
Last amended 13 Oct 2014 14:35:12