form y separately published work icon Butterflies single work   film/TV   fantasy   horror  
Issue Details: First known date: 2012... 2012 Butterflies
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AbstractHistoryArchive Description

A young street artist is concerned that taking a regular job will affect her creativity.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Melbourne, Victoria,: TBC Media , 2012 .
      Extent: 12min.p.
      Description: Animated
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Works about this Work

Mapping Global Horror : Filmmaker Roundtable Amanda Barbour , 2023 single work criticism
— Appears in: Senses of Cinema , November no. 107 2023;

'At the intersection of theory and practice, Mapping Global Horror: Australia, Japan and Beyond put horror scholars in dialogue with filmmakers and festival producers. This enabled audiences to understand new dimensions of a medium that’s constantly fluctuating in form. The roundtable transcribed here was chaired by Adam Daniel, an academic and filmmaker from the Australian Film Television and Radio School and Western Sydney University. He was joined by Isabel Peppard: a director, animator and visual artist. Her animated short Butterflies (2012) won the Dendy Award at The Sydney Film Festival and was nominated for an Australian Academy of Cinema and Television Arts Award (AACTA). Caitlin Koller is an award-winning Australian filmmaker, featured in 1000 Women In Horror: 1895-2018 and Women Make Horror: Filmmaking, Feminism, Genre. Natalie Erika James’ feature length debut, Relic (2020), premiered at the Sundance Film Festival and received nominations for Best Film at the 2020 Gotham Awards as well as Best Film, Best Direction and Best Screenplay at the 2020 AACTA Awards. Asakura Kayoko was born and raised in Japan, her film My Girlfriend Is a Serial Killer (Hitsuji to ôkami no koi to satsujin, Asakura Kayoko, 2019) screened at the conference, alongside Relic.' (Introduction)
Australian Fairy-tale Films Elizabeth Bullen , Naarah Sawyers , 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)
Australian Fairy-tale Films Elizabeth Bullen , Naarah Sawyers , 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)
Mapping Global Horror : Filmmaker Roundtable Amanda Barbour , 2023 single work criticism
— Appears in: Senses of Cinema , November no. 107 2023;

'At the intersection of theory and practice, Mapping Global Horror: Australia, Japan and Beyond put horror scholars in dialogue with filmmakers and festival producers. This enabled audiences to understand new dimensions of a medium that’s constantly fluctuating in form. The roundtable transcribed here was chaired by Adam Daniel, an academic and filmmaker from the Australian Film Television and Radio School and Western Sydney University. He was joined by Isabel Peppard: a director, animator and visual artist. Her animated short Butterflies (2012) won the Dendy Award at The Sydney Film Festival and was nominated for an Australian Academy of Cinema and Television Arts Award (AACTA). Caitlin Koller is an award-winning Australian filmmaker, featured in 1000 Women In Horror: 1895-2018 and Women Make Horror: Filmmaking, Feminism, Genre. Natalie Erika James’ feature length debut, Relic (2020), premiered at the Sundance Film Festival and received nominations for Best Film at the 2020 Gotham Awards as well as Best Film, Best Direction and Best Screenplay at the 2020 AACTA Awards. Asakura Kayoko was born and raised in Japan, her film My Girlfriend Is a Serial Killer (Hitsuji to ôkami no koi to satsujin, Asakura Kayoko, 2019) screened at the conference, alongside Relic.' (Introduction)
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Awards

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Last amended 19 Jun 2019 13:24:46
Isabel Peppard
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