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Colin, the getaway driver in a bungled robbery, manages to leave the scene with cash and an unhappy Japanese honeymooner who has faked her own kidnapping. They are subsequently pursued by detectives, a bunch of hoods, and a crazed Japanese husband.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Representations of the Japanese in Contemporary Australian Literature and FilmErika Smith,
2008single work criticism — Appears in:
New Voices,vol.
2no.
2008;'The objective of this article is to investigate general contemporary Australian perceptions of the Japanese. I will do this by exploring how Australian contemporary literature (2006-2007) and Australian contemporary film (1997-2007) depicts Japanese characters. By analysing the representation of the Japanese characters in these areas I will attempt to gather a broad understanding of how Australians represent, perceive and identify the Japanese today.' -- Author's abstract
Aftershock and the Desert Landscape in Heaven's Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolgnu Boy and The MissingFelicity Collins,
Therese Davis,
2004single work criticism — Appears in:
Australian Cinema after Mabo2004;(p. 75-93)In this chapter Collins and Davis 'are intersted in how a familiar icon of Australian cinema, the landscape (in particular the desert landscape, the outback), is suddenly made strange (unbearable even) by a historic event and how this raises questions to do with historical amnesia, shock and memory in a national cinema. In order to sneak up on on this post-Mabo experience of aftershock, we want to place these films in relation to threee critical categories which have been important in making sense of the ad hoc diversity of Australian films.' Source : Australian Cinema After Mabo (2004)
Heaven's BurningFelicity Collins,
2000single work criticism — Appears in:
Senses of Cinema,September-October
no.
92000;'Redefining the outback and the Oz road movie: Felicity Collins untangles what implicates her to
this film.' (Editor's abstract)
Aftershock and the Desert Landscape in Heaven's Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolgnu Boy and The MissingFelicity Collins,
Therese Davis,
2004single work criticism — Appears in:
Australian Cinema after Mabo2004;(p. 75-93)In this chapter Collins and Davis 'are intersted in how a familiar icon of Australian cinema, the landscape (in particular the desert landscape, the outback), is suddenly made strange (unbearable even) by a historic event and how this raises questions to do with historical amnesia, shock and memory in a national cinema. In order to sneak up on on this post-Mabo experience of aftershock, we want to place these films in relation to threee critical categories which have been important in making sense of the ad hoc diversity of Australian films.' Source : Australian Cinema After Mabo (2004)
Representations of the Japanese in Contemporary Australian Literature and FilmErika Smith,
2008single work criticism — Appears in:
New Voices,vol.
2no.
2008;'The objective of this article is to investigate general contemporary Australian perceptions of the Japanese. I will do this by exploring how Australian contemporary literature (2006-2007) and Australian contemporary film (1997-2007) depicts Japanese characters. By analysing the representation of the Japanese characters in these areas I will attempt to gather a broad understanding of how Australians represent, perceive and identify the Japanese today.' -- Author's abstract
Heaven's BurningFelicity Collins,
2000single work criticism — Appears in:
Senses of Cinema,September-October
no.
92000;'Redefining the outback and the Oz road movie: Felicity Collins untangles what implicates her to
this film.' (Editor's abstract)
