Screen cap from promotional trailer.
form y Long Weekend single work   film/TV   horror  
Issue Details: First known date: 1978... 1978 Long Weekend
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AbstractHistoryArchive Description

'On a long weekend camping trip to a lonely beach, Peter and Marcia confront the despair of their marriage, as nature takes revenge on them' (National Film and Sound Archive blurb).

Notes

  • The trailer for this film is available to view on YouTube: http://www.youtube.com/watch?v=FBtD9zPx0Gk (Sighted: 1/6/2012).
  • This film is included in Screen Australia's collection 'Horror in Australian Cinema': http://aso.gov.au/titles/features/long-weekend/ (Sighted: 6/7/2012)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

An Apocalyptic Landscape : The Mad Max Films Roslyn Weaver , 2011 single work criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107)
In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83)
Gothic Definitions : The New Australian "Cinema of Horrors" Jonathan Rayner , 2011 single work criticism
— Appears in: Antipodes , June vol. 25 no. 1 2011; (p. 91-97)
This paper examines ‘ the pervasive presence of horror materials, in both thematic and stylistic terms, within the Australian feature film industry from its re-establishment at the end of the 1960s to the present.’ (p. 91)
Australian Eco-Horror and Gaia's Revenge : Animals, Eco-Nationalism and the 'New Nature' Catherine Simpson , 2010 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 1 2010; (p. 43-54)

'We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston, 1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.'

Source: Publisher's blurb.

Everett de Roche Paul Davies (interviewer), 2008 single work interview
— Appears in: Senses of Cinema , 2008 no. 48 2008;
Long Weekend Scott Murray , 2008 single work review
— Appears in: Senses of Cinema , 2008 no. 48 2008;

— Review of Long Weekend Everett de Roche 1978 single work film/TV
Long Weekend Scott Murray , 2008 single work review
— Appears in: Senses of Cinema , 2008 no. 48 2008;

— Review of Long Weekend Everett de Roche 1978 single work film/TV
Gothic Definitions : The New Australian "Cinema of Horrors" Jonathan Rayner , 2011 single work criticism
— Appears in: Antipodes , June vol. 25 no. 1 2011; (p. 91-97)
This paper examines ‘ the pervasive presence of horror materials, in both thematic and stylistic terms, within the Australian feature film industry from its re-establishment at the end of the 1960s to the present.’ (p. 91)
Everett de Roche Paul Davies (interviewer), 2008 single work interview
— Appears in: Senses of Cinema , 2008 no. 48 2008;
An Apocalyptic Landscape : The Mad Max Films Roslyn Weaver , 2011 single work criticism
— Appears in: Apocalypse in Australian Fiction and Film : A Critical Study 2011; (p. 83-107)
In this chapter Roslyn Weaver explores 'the three Mad Max films to consider their contribution to the apocalyptic tradition. In these texts, the outback is 'the nothing,' a threatening place that is hostile to humans. The trilogy reveals future disaster and appears to envisage a better new world, but then subverts apocalyptic hope by suggesting the new world is a false ideal because it only exists far from the Australian landscape and even then only exists far from the Australian landscape and even then only in ruined, decayed form. The repeated dismissals of hope and the negative image of the Australian landscape undercut any security of feeling at home, presenting instead a picture of exile and punishment in the desert.' (83)
Australian Eco-Horror and Gaia's Revenge : Animals, Eco-Nationalism and the 'New Nature' Catherine Simpson , 2010 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 1 2010; (p. 43-54)

'We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston, 1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.'

Source: Publisher's blurb.

Last amended 14 Oct 2014 08:55:41
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