'A seemingly unresolvable love triangle between three people doomed to chase each other through shared accommodation hell in a never-ending, unrequited daisy-chain of desire.'
Source: Screen Australia.
He Died with a Felafel in His Hand : Hilarious True Stories of Share House Accommodation in Australia in the 1990's
Darlinghurst
:
Yellow Press
,
1994
Z43582
1994
single work
novel
humour
'John Birmingham has lived with eighty-nine people and kept notes on all of them. This is their story.
''A rat died in the living room at King Street and we didn't know. There was at least six inches of compacted rubbish between our feet and the floor. Old Ratty must have crawled in there and died of pleasure. A visitor uncovered him while groping about for a beer!'
'This best-seller led to a successful stage play and major motion picture, starring Noah Taylor and Sophie Lee. It has been published in Britain and Italy.' (Publication summary)
'Richard Lowenstein’s 2001 film He Died with a Felafel in His Hand, a loose adaptation of John Birmingham’s 1994 memoir of the same title, follows Danny (Noah Taylor) with his typewriter and guitar in pursuit of love and meaning through his account of the share-house experience in Australia’s major cities. While the film might be more fitting under the ‘black comedy’ subgenre, its narrative and structure suggests a prolonged coming-of-age for those living in Australia in their mid to late 20s. For Danny in He Died with a Felafel in His Hand, this means watching from afar as the people of his past tie the knot, and discovering who he is, while navigating the at times chaotic share-house experience.' (Introduction)
'This dossier represents emerging writers from RMIT University’s undergraduate Film Genre course, as they explore ways that an individual film may use, knowingly play with or revise genre tropes, in the midst of other artistic, industrial and socio-historical factors. The ubiquity with which the idea of genre circulates in popular culture may potentially present a somewhat misleading picture of consensus that the course then problematises and unpacks over a semester. As Steve Neale points out, genre does not merely consist of a set of “conventions” used within films, but also “systems of expectation and hypothesis” among audience members. In turn, these genre expectations can be influenced by marketing materials and reviews. Films that were first marketed as one genre can be subsequently re-labelled as another genre by scholars and critics, or by the industry itself. In the contemporary era, streaming services frequently use multiple and sometimes “oddly specific” genre labels, in ways that challenge a dominant idea expressed by Rick Altman that “if it is not defined by the industry and recognized by the mass audience, then it cannot be a genre. As such, while the repetition of recognisable codes and labels may be central to our understanding of genre, so too variation in how genre is used – by filmmakers, the film industry, and audiences – is also key to the genre system.' (Introduction)
