Glenn Dunks Glenn Dunks i(7085615 works by)
Gender: Male
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Works By

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1 Fight for Survival : Damien Power's Killing Ground and Horror Success Glenn Dunks , 2017 single work essay
— Appears in: Metro Magazine , Summer vol. 191 no. 2017; (p. 20-25) These days, with the rise in digital filmmaking, the growth of alternative distribution and the existence of countless film festicals, a lot of movies are being made – so it's more vital than ever for fledgling titles to have something special to vouch for their audience-worthiness. Horror films have a particularly good track record in this respect, even launching the careers of several cinematic greats. But, Glenn Dunks asks, is Killing Ground one such success story?
1 Isle-Cross'd Lovers : Vanuatu's Tanna and the South Pacific on Film Glenn Dunks , 2016 single work essay
— Appears in: Metro Magazine , Autumn vol. 188 no. 2016; (p. 24-29) As the first film to hail from Vanuatu, the South Pacific-set forbidden romance of Tanna, which was produced in collaboration with Australia, is a landmark piece of cinema. Glenn Dunks delves into this historic film's origins and examines its achievements in light of other screen works about and set in this highly underrepresented region.
1 Genre Is Big Business on the Small Screen Glenn Dunks , 2016 single work essay
— Appears in: Metro Magazine , Spring no. 190 2016; (p. 124) 'In this article, the author discusses significance of genre filmmaking in television broadcasting, as of September 2016. He cites examples of genre films like the documentary "Not Quite Hollywood: The Wild, Untold Story of Ozploitation," which is a horror film, and the '"Griff the Invisible," and mentions that genres like horror, sci-fi and fantasy have always been prominent on the small screen. He notes that TV programs lower scrutiny than films, citing example of "Glitch and Cleverman."
1 Boy, Interrupted Glenn Dunks , 2016 single work criticism
— Appears in: Metro Magazine , Spring no. 190 2016; (p. 30-33) 'Craig Boreham’s feature debut dramatises the coming of age – and coming out – of a queer teenager from a migrant family living in Sydney. Certainly, more LGBTQIA visibility is important, but according to Glenn Dunks, the film misses an opportunity to illuminate sexuality’s problematic interactions with religion and culture, and perhaps falls short of faithfully depicting life for non-heterosexual young people today.'
1 Post-apocalypse Now : Australia as Cinema's Dystopia Glenn Dunks , 2015 single work criticism
— Appears in: Metro Magazine , Autumn no. 184 2015; (p. 90-95)

'Australia has long enjoyed a relationship with the notion of the end of the world, with an array of texts situating such a scenario on the island continent. Glenn Dunks explores the lineage of the Australian post-apocalyptic film and dives into each title's take on how the world's downfall arrives down under.'

Source: Publisher's blurb.
1 Launching The Rocket : Beyond the Typical Australian Film Glenn Dunks , 2013 single work column
— Appears in: Metro Magazine , Spring no. 178 2013; (p. 6-13)
1 Noise Glenn Dunks , 2012 single work essay
— Appears in: World Film Locations : Melbourne 2012; (p. 114-115)
1 Irresistible Glenn Dunks , 2012 single work essay
— Appears in: World Film Locations : Melbourne 2012; (p. 112-113)
1 Spotswood Glenn Dunks , 2012 single work essay
— Appears in: World Film Locations : Melbourne 2012; (p. 80-81)
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