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AbstractHistoryArchive Description
'The year is 2019. A mysterious plague has swept over the earth, transforming the majority of the world's population into vampires. Humans are now an endangered, second-class species, forced into hiding as they are hunted and farmed for vampire consumption to the brink of extinction. It's all up to Edward Dalton, a vampire researcher who refuses to feed on human blood, to perfect a blood substitute that might sustain vampires and spare the few remaining humans.'
Source: http://screenaustralia.gov.au/ (Sighted 24/09/2009).
Notes
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The trailer for this film is available to watch via YouTube: http://www.youtube.com/watch?v=IGrpoxBlCNo (Sighted: 22/6/2012).
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Cinema Plus : Robert Connolly and Event Audience Screenings
2017
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 77-84)This article discusses the problems that Australian films face in the big distribution model, and ways that producers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly's Cinema Plus exhibition company. Although there is a historical precedence set for Connolly's self distribution venture, this shift to rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of the porous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separate pools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way to reach the widest possible audience.
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Countdown : Australia's Top Ten Sci-Fi Films
2017
single work
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— Appears in: FilmInk , 20 April 2017; -
This Grave New World : Biopolitics and the Vampire Dystopia in Daybreakers
2016
single work
criticism
— Appears in: Minnesota Review , vol. 86 no. 2016; (p. 61-80)'Following Paul Buhle's claims about the inherent utopianism of horror, this essay examines the popular film Daybreakers (2009) as a cultural response to the economic and biopolitical crises of the Great Recession. Ultimately retreating from the dark mirror of its compelling dystopian critique, the film executes its social crisis through the logic of vampiric speciology, immunizing the present against the threat of radical transformation and restoring a “natural” social order. However, the biopolitical writings of Roberto Esposito offer us a way to discern the ineradicable utopian horizon in even this strategy of containment and neutralization.'
Source: Abstract.
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The 100 Best Australian Films of the New Millenium
2016
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— Appears in: FilmInk , 22 September 2016; -
Zombies off Menu
2012
single work
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— Appears in: The Courier-Mail , 16 May 2012; (p. 21)
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Vampire Twists in Cheesy Vein
2010
single work
review
— Appears in: The Canberra Times , 28 January 2010; (p. 5)
— Review of Daybreakers 2009 single work film/TV -
Fresh Blood
2010
single work
review
— Appears in: The Sydney Morning Herald , 30-31 January 2010; (p. 16)
— Review of Daybreakers 2009 single work film/TV -
Duo Sink Their Teeth into Genre
2010
single work
review
— Appears in: The Australian , 3 February 2010; (p. 15)
— Review of Daybreakers 2009 single work film/TV -
Film
2010
single work
review
— Appears in: Brisbane News , 10 - 16 February no. 770 2010; (p. 28)
— Review of Daybreakers 2009 single work film/TV -
Untitled
2009
single work
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— Appears in: The Australian , 23 September 2009; (p. 17) -
Red-Blooded Woman
2010
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— Appears in: The Sun-Herald , 24 January 2010; (p. 13) -
The Horror Twins
2010
single work
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— Appears in: The Sun-Herald , 24 January 2010; (p. 13) -
This Hawke Is Spreading His Wings
2010
single work
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— Appears in: The Canberra Times , 28 January 2010; (p. 4-5) -
Shh, Don't Tell It's Australian Made
2010
single work
column
— Appears in: The Sydney Morning Herald , 17-18 July 2010; (p. 14)
Awards
- 2019