person or book cover
Source: Screen cap. Post apocalyptic drive-in scene.
form y separately published work icon Dead End Drive-In single work   film/TV   satire   science fiction  
Adaptation of Crabs Peter Carey , 1972 single work short story
Issue Details: First known date: 1986... 1986 Dead End Drive-In
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AbstractHistoryArchive Description

In the 'near' future, drive-in theatres have been turned into concentration camps for the undesirable and unemployed. The prisoners don't really care to escape, because they are fed and they have a place to live that is, in most cases, probably better than anything they might find on the outside. Crabs and his girlfriend Carmen are put into the camp, but all Crabs wants to do is escape.

Notes

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

y separately published work icon Adventures in the B Movie Trade Brian Trenchard-Smith , United States of America (USA) : Brian Trenchard-Smith , 2020 20704470 2020 single work autobiography

'Follow the daredevil adventures of Anglo Australian film maker - and Ozploitation pioneer - Brian Trenchard-Smith through a 50 year career dedicated to giving his audience thrills, spills, laughs and gasps. "The Man From Hong Kong", "Turkey Shoot," " Dead End Drive In", "Siege Of Firebase Gloria", "Stunt Rock", "Leprechaun 3 & 4," and Nicole Kidman's first film "BMX Bandits" have earned his work a cult following. His TV output includes "Silk Stalkings"," Five Mile Creek", "Tarzan", "Flipper", "Chemistry". The Fantaspoa Fantastic Film Festival in Brazil honored him with a Lifetime Achievement Award. Quentin Tarantino dubbed him his " favorite obscure director....great energy, great sense of humor." Brian Trenchard-Smith's wry, insightful tales of the creative challenges of low budget movie making all over the world is both a personal journey and a portrait of his era.'

Source: Publisher's blurb.

Nowhere to Run: Repetition Compulsion and Heterotopia in the Australian Post-apocalypse – From 'Crabs' to Mad Max Beyond Thunderdome Claire Corbett , 2017 single work criticism
— Appears in: Science Fiction Film and Television , vol. 10 no. 3 2017; (p. 329-351)

'This article argues that despite the genre status of the Mad Max films as post-apocalyptic sf, the driving force behind many of the images and concerns of the films derives from aspects of Australian history since colonisation. The article compares the way these themes appear in the Mad Max films to the way they are explored in ‘Crabs’, a 1972 short story by Australian writer Peter Carey. This story was later filmed as Dead End Drive-In, a film which itself draws on the aesthetic already developed through the Mad Max films. I use Freud’s theory of repetition compulsion to explore ways in which history is both remembered and deliberately forgotten through imagery that is dislocated from the past to the ‘future’ and thus in effect to a timeless, ever-present or ever-recurring time. The article also argues that Foucault’s concept of heterotopia (a space that is populated by a selected, heterogenerous group such inmates in a prison), describes the reality of the penal colonies forming the origins of settler Australia. The colony’s status as heterotopia has led to a pervasive sense of the ‘irreality’ of Australia for many non-Indigenous Australians, expressed through numerous artworks: a sense that there is no ‘there’ out there, nowhere to run.' (Publication abstract)

Deranged Down Under Erik Piepenburg , 2017 single work column
— Appears in: The New York Times , 10 August 2017; (p. C2)

'“Is that about Dorothy or Down Under?”

'That’s the question a friend posted on Facebook in response to my search for horror geeks who would talk to me about the exploitation subgenre Ozploitation. I’ll forgive him for not knowing that the Oz here refers to Australia, not Munchkinland. Ozploitation remains an under-the-radar monster, at least in the United States.' (Introduction)

Dead End Drive-In (Brian Trenchard-Smith, 1986) Luke Buckmaster , 2012 single work review
— Appears in: Senses of Cinema , September no. 64 2012;

— Review of Dead End Drive-In Peter Smalley , 1986 single work film/TV
No Film for Chickens Brian Trenchard-Smith , 2010 single work criticism
— Appears in: Australian Perspectives Essays 2010;

'INT. LONDON UNDERGROUND PLATFORM DAY

England 1983. Commuters stand in silent groups awaiting the next rattling arrival on the Piccadilly Line.

Work, consume, be silent, die - is etched on the faces of many. The Thatcher Years.

Only two men are having a conversation; one, a young movie geek, the other, a national newspaper film critic (although in fact he sees himself as a Cinema Critic)' (Introduction)

Dead-End Drive-In Philippa Hawker , 2008 single work review
— Appears in: Senses of Cinema , 2008 no. 48 2008;

— Review of Dead End Drive-In Peter Smalley , 1986 single work film/TV
Dead End Drive-In (Brian Trenchard-Smith, 1986) Luke Buckmaster , 2012 single work review
— Appears in: Senses of Cinema , September no. 64 2012;

— Review of Dead End Drive-In Peter Smalley , 1986 single work film/TV
The Difficulties of Translating Peter Carey's Postmodern Fiction into Popular Film Theodore F. Sheckels , 2005 single work criticism
— Appears in: Fabulating Beauty : Perspectives on the Fiction of Peter Carey 2005; (p. 83-100)
Argues that 'the film adaptations of Carey's fiction seem to pull the work away from the postmodern aesthetic and, as a consequence, away from what Carey was positing through its use. The films offer something more modern or realistic, thereby confusing or altering Carey's themes' (81).
Crabs, Cars and Peter Carey Tim Kroenert , 2008 single work criticism
— Appears in: Eureka Street , 23 December vol. 18 no. 25 2008;
y separately published work icon Not Quite Hollywood : The Wild, Untold Story of Ozploitation! Paul Harris , Collingwood : Madman Entertainment , 2008 Z1636275 2008 single work criticism (taught in 1 units)

Not Quite Hollywood is the story of Ozploitation.

More explicit, violent and energetic than anything out of Hollywood, Aussie genre movies such as Alvin Purple, The Man From Hong Kong, Patrick, Mad Max and Turkey Shoot presented a unique take on established cinematic conventions.

In England, Italy and the grindhouses and Drive-ins of North America, audiences applauded our homegrown marauding revheads with their brutish cars; our sprnky well-stacked heroines and our stunts - unparalleled in their quality and extreme danger!

Busting with outrageous anecdotes, trivia and graphic poster art - and including isights from key cast, crew and fans - including Quentin Tarantino - this is the wild, untold story of an era when Aussie cinema got its gear off and showed the world a full-frontal explosion of boobs, pubes, tubes...and even a little kung fu!

Not Quite Mad Max : Brian Trenchard-Smith's Dead End Drive-In Rebecca Johinke , 2009 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 3 no. 3 2009; (p. 309-320)
'This article suggests that Dead End Drive-In (1986), Brian Trenchard-Smith's little-known Ozploitation film, deserves reconsideration from Australasian film scholars because it offers a valuable contribution to discussions about Australian masculinity, car culture, phobic narratives and the White Australia Policy. It is argued that the drive-in as detention centre foreshadows later Australian anxieties about immigration and border protection. Clearly a 'phobic narrative' full of 'white panic' (Morris, 1989, 1998), it exhibits many of the anxieties about Australians and 'auto-immobility' that Catherine Simpson (2006) discusses, and fits neatly into Tranter's (2003) discussion of cars and governance and Bode's (2006a) arguments about whiteness and Australian masculinity in crisis.' (Author's abstract)
Filming Peter Carey: From the Adequate to the Distorted Theodore F. Sheckels , 1999 single work criticism
— Appears in: Antipodes , December vol. 13 no. 2 1999; (p. 91-94)
Last amended 5 Sep 2022 15:15:09
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