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AbstractHistoryArchive Description
The magical inhabitants of FernGully rainforest are under threat from logging and from Hexxus, an anthropomorphic polluting force.
Exhibitions
Notes
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The trailer for this film is available to view via YouTube: http://www.youtube.com/watch?v=ccURwir7C_o (Sighted: 2/8/2012)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
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y
FernGully
Sydney
:
Ashton Scholastic
,
1991
Z849147
1991
single work
children's fiction
children's
fantasy
'Deep in the heart of every forest there is a place which is greener and quieter than anywhere else. In this rainforest, that place is called FernGully.
FernGully is a magical place, the home of rainforest fairies, elves and animals. But one morning, Crysta, a young fairy, finds that things have changed; the frogs are croaking that Hexxus, the forest's ancient enemy, is changing the weather.
Soon Crysta finds out that there are humans at Mount Warning, and that they have released Hexxus from his long imprisonment in a tree at the foot of the mountain. This means that FernGully is facing destruction!
Crysta, her elf friend, Pips, Batty Koda, a brain-fried bat, and Zak, a boy she finds in the forest and brings to FernGully, join forces with Magi Lune, the keeper of the Old Powers, to save FernGully.' (Source: Back cover)
-
form
y
FernGully II : The Magical Rescue
( dir. Phil Robinson
et. al. )agent
United States of America (USA)
:
FAI Films
Rosen Harper Entertainment
Wild Brains Productions
,
1998
Z1877633
1998
single work
film/TV
children's
fantasy
The magical inhabitants of FernGully must venture outside the rainforest when some of the animal friends are taken by poachers.
Works about this Work
-
Earth in Balance : 'Ferngully : The Last Rainforest'
2019
single work
criticism
— Appears in: Screen Education , no. 93 2019; (p. 50-55)'With its supernatural narrative pitting environmental harmony against destructive human intervention, this classic 1990s Australian animated children's film remains a powerful statement against wanton deforestation. It also serves as an excellent learning opportunity for upper primary and junior secondary students in English, Geography and Media Arts.'
Source: Abstract.
-
Australian Fairy-tale Films
2015
single work
criticism
— Appears in: Fairy-Tale Films Beyond Disney : International Perspectives 2015; (p. 233-245) 'In this chapter's first section, we explain why we do not include Aboriginal narratives and, therefore, why we focus on the European fairy-tale tradition's influence in regard to the Australian fairy-tale literature of the 1890s and the films we later discuss. We draw attention to the recurring trope of the "lost child" as a signifier of the anxieties of colonial identity. The centrality of national identity in Australian cinema, complicated by the fluctuating fortunes of the domestic film industry, has also had an impact on the production of fairy-tale films in Australia. We outline these matters in the second section, where we survey a range of fairy-tale films made since the 1970s, asking what makes a fairy-tale film Australian. Finally, we present three studies based on what we identify as the dominant and emergent features of Australian fairy-tale films. Our aim is to be representative, not comprehensive, and to focus on films that are distinctly Australian in flavour. The first study returns to the lost-child figure. The second discusses revisionist fairy-tale films, focusing on how an Australian cultural disposition inflects the "happily ever after" ending. The last study discusses recent developmental short films, which we suggest may herald the birth of uniquely Australian fairy tales.' (pp.233-234) -
Animating Child Activism : Environmentalism and Class Politics in Ghibli's Princess Mononoke (1997) and Fox's Fern Gully (1992)
2012
single work
criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 26 no. 1 2012; (p. 25-37) 'Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children's films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to 'supernatural' forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children's entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and 'cute' feminization of nature, while Hayao Miyazaki's film renders nature sublime and invokes complex socio-cultural differences. Against FernGully's 'othering' of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.' (Author's abstract)
-
Animating Child Activism : Environmentalism and Class Politics in Ghibli's Princess Mononoke (1997) and Fox's Fern Gully (1992)
2012
single work
criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 26 no. 1 2012; (p. 25-37) 'Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children's films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to 'supernatural' forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children's entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and 'cute' feminization of nature, while Hayao Miyazaki's film renders nature sublime and invokes complex socio-cultural differences. Against FernGully's 'othering' of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.' (Author's abstract)
-
Earth in Balance : 'Ferngully : The Last Rainforest'
2019
single work
criticism
— Appears in: Screen Education , no. 93 2019; (p. 50-55)'With its supernatural narrative pitting environmental harmony against destructive human intervention, this classic 1990s Australian animated children's film remains a powerful statement against wanton deforestation. It also serves as an excellent learning opportunity for upper primary and junior secondary students in English, Geography and Media Arts.'
Source: Abstract.
-
Australian Fairy-tale Films
2015
single work
criticism
— Appears in: Fairy-Tale Films Beyond Disney : International Perspectives 2015; (p. 233-245) 'In this chapter's first section, we explain why we do not include Aboriginal narratives and, therefore, why we focus on the European fairy-tale tradition's influence in regard to the Australian fairy-tale literature of the 1890s and the films we later discuss. We draw attention to the recurring trope of the "lost child" as a signifier of the anxieties of colonial identity. The centrality of national identity in Australian cinema, complicated by the fluctuating fortunes of the domestic film industry, has also had an impact on the production of fairy-tale films in Australia. We outline these matters in the second section, where we survey a range of fairy-tale films made since the 1970s, asking what makes a fairy-tale film Australian. Finally, we present three studies based on what we identify as the dominant and emergent features of Australian fairy-tale films. Our aim is to be representative, not comprehensive, and to focus on films that are distinctly Australian in flavour. The first study returns to the lost-child figure. The second discusses revisionist fairy-tale films, focusing on how an Australian cultural disposition inflects the "happily ever after" ending. The last study discusses recent developmental short films, which we suggest may herald the birth of uniquely Australian fairy tales.' (pp.233-234)
