Screen cap from promotional trailer
form y The Rover single work   film/TV   crime   western  
Issue Details: First known date: 2013... 2013 The Rover
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AbstractHistoryArchive Description

'The Australian desert in a dangerous and damaged near future. Eric has left everything, everyone and every semblance of human kindness behind him. And then he has his last possession stolen by a gang of dangerous criminals. Eric sets off on a ruthless mission to track them down, forced along the way to enlist the help of Rey, the naïve and injured junior member of the gang, who was left behind in the bloody chaos of the gang's most recent robbery.' (Source: Screen Australia)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films Lauren Carroll Harris , 2017 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)

This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.

Countdown : Australia's Top Ten Sci-Fi Films Erin Free , 2017 single work column
— Appears in: FilmInk , 20 April 2017;
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;
Greener Pastures and Tangled Gums : The Rise of Australian Eco-fiction Rachel Fetherston , 2016 single work criticism
— Appears in: Overland [Online] , December 2016;
'The Australian environment has long been treated as an enigma by a large portion of the non-Indigenous public. For many Australians residing in cities and suburbs, the natural world exists as an entity entirely separate to the goings-on of the everyday. Rural, sweeping pastures and the ‘barren’ outback are often what come to mind for those who do not or are unable to make a conscious effort to engage with nature. A short but destructive history of mining, agriculture, logging and reef-bleaching has left little of our unique biodiversity intact, and current political trends demonstrate a disinclination to ecologically minded policy.' (Introduction)
Joel's Last Chance Sam Clarke , 2015 single work column
— Appears in: The Advertiser , 15 August 2015; (p. 14)
On the Road Shane Danielsen , 2014 single work review
— Appears in: The Monthly , June no. 101 2014; (p. 53-54)

— Review of The Rover David Michôd 2013 single work film/TV
Message Amid the Madness Paul Byrnes , 2014 single work review
— Appears in: The Sydney Morning Herald , 7-8 June 2014; (p. 21)

— Review of The Rover David Michôd 2013 single work film/TV
Plot Lost in the Bush Leigh Paatsch , 2014 single work review
— Appears in: The Courier-Mail , 12 June 2014; (p. 30)

— Review of The Rover David Michôd 2013 single work film/TV
Dark Serving of Our Dystopia Jake Coyle , 2014 single work review
— Appears in: The Canberra Times , 13 June 2014; (p. 6)

— Review of The Rover David Michôd 2013 single work film/TV
The Rover Review – An Australian Road Movie that Runs out of Road Tom Shone , 2014 single work review
— Appears in: The Guardian Australia , 12 June 2014;

— Review of The Rover David Michôd 2013 single work film/TV
Pattinson's New Role Shows He's Come a Long Way Since Twilight Philippa Hawker , 2013 single work column
— Appears in: The Sun-Herald , 17 March 2013; (p. 20-21) The Sunday Age , 17 March 2013; (p. 9)
Lights, Camera, Action for State's Resurgent Industry : Cinema's New Wave is On a Roll Michael Bodey , 2013 single work column
— Appears in: The Australian , 8 May 2013; (p. 14)
Cannes Do Attitude Liam Fitzgibbon , 2013 single work column
— Appears in: The Sunday Mail , 26 May 2013; (p. 18-19)
'Away from the glitz of the red carpet, there are plenty of Australian filmmakers working hard to launch a career, writes Liam FitzGibbon in Cannes.'
LA's Night of Nights for Aussie Film Stars 2013 single work
— Appears in: The Courier-Mail , 26 October 2013; (p. 47)
Michod and de Heer Films in Competition in Cannes 2014 single work column
— Appears in: The Sydney Morning Herald , 19-20 April 2014; (p. 12)
Last amended 11 Mar 2015 09:47:28
  • Australian Outback, Central Australia,
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