image of person or book cover 5800800131640322972.jpg
Screen cap from promotional trailer
form y separately published work icon Stork single work   film/TV   humour  
Adaptation of The Coming of Stork David Williamson , 1970 single work drama
Issue Details: First known date: 1971... 1971 Stork
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AbstractHistoryArchive Description

Graham 'Stork' Wallace is bored with a design job at General Motors Holden in Melbourne. He drops out and moves into a share house daydreaming his way through life.

[Source: Screen Australia]

Notes

  • Adapted from David Williamson's first play The Coming of Stork (1970).

Publication Details of Only Known VersionEarliest 2 Known Versions of

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Works about this Work

Masculinity, Victimhood and National Identity in 1970s Australian Ocker Cinema Chelsea Barnett , 2023 single work criticism
— Appears in: History Australia , vol. 20 no. 1 2023; (p. 118-136)

'Historians have long understood ocker cinema in terms of a more distinct and assertive national identity in Whitlam’s 1970s, yet only recently have begun to consider the context of the women’s liberation movement unfolding at the time. Adding to this emerging body of scholarship, this article reads the rise of ocker cinema both in the context of, and as a response to, second-wave feminism. Turning to the films Stork (1971), The Adventures of Barry McKenzie (1972) and Alvin Purple (1973), this article argues that the cinematic articulation of the ocker in the 1970s not only asserted a masculinist national identity, but also positioned this national masculinity as the victim of (and in danger from) threatening feminist challenges.' (Publication abstract)
Passionate Amateurs : The Experimental Film and Television Fund and Modernist Film Practice in Australia Lisa French , Mark Poole , 2011 single work criticism
— Appears in: Studies in Australasian Cinema , 24 August vol. 5 no. 2 2011; (p. 171-183) 'Most histories of the dynamism of the Australian film industry in the 1970s explore feature films, but a vital part of the creativity and energy of the revival occurred in the non-feature sector. A significant site of experimentation and originality in form, content and technique was the Experimental Film and Television Fund (EFTF). From its inception in 1970, The Australian Film Institute (AFI) managed the fund until 1977 when the Australian Film Commission (AFC) assumed control of it. Drawing on a series of interviews with key players involved in the fund during the AFI's tenure, and research for the book, Shining a Light: 50 Years of the Australian Film Institute (French and Poole 2009), this article traces this significant period of the history of Australian film production, and proposes that the AFI played an important role in promoting modernist film practice, and the Australian film revival, through its management of the EFTF.' (Editor's abstract)
From Bit Part to Main Stage David Williamson , 2009 single work criticism
— Appears in: The Australian , 15 January 2009; (p. 8)
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!
David Williamson : Plays into Films Cecilia Rice , 1981 single work criticism
— Appears in: Cinema Papers , no. 32 1981; (p. 123-127) 'What happens to a playwright's style when he turnes scriptwriter and adapts his own works. David Williamson has written the screenplays for four film adaptations, but they were directed by three people who interpreted the elements of his style quite differently.' (Cecilia Rice).
From Bit Part to Main Stage David Williamson , 2009 single work criticism
— Appears in: The Australian , 15 January 2009; (p. 8)
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!
Passionate Amateurs : The Experimental Film and Television Fund and Modernist Film Practice in Australia Lisa French , Mark Poole , 2011 single work criticism
— Appears in: Studies in Australasian Cinema , 24 August vol. 5 no. 2 2011; (p. 171-183) 'Most histories of the dynamism of the Australian film industry in the 1970s explore feature films, but a vital part of the creativity and energy of the revival occurred in the non-feature sector. A significant site of experimentation and originality in form, content and technique was the Experimental Film and Television Fund (EFTF). From its inception in 1970, The Australian Film Institute (AFI) managed the fund until 1977 when the Australian Film Commission (AFC) assumed control of it. Drawing on a series of interviews with key players involved in the fund during the AFI's tenure, and research for the book, Shining a Light: 50 Years of the Australian Film Institute (French and Poole 2009), this article traces this significant period of the history of Australian film production, and proposes that the AFI played an important role in promoting modernist film practice, and the Australian film revival, through its management of the EFTF.' (Editor's abstract)
David Williamson : Plays into Films Cecilia Rice , 1981 single work criticism
— Appears in: Cinema Papers , no. 32 1981; (p. 123-127) 'What happens to a playwright's style when he turnes scriptwriter and adapts his own works. David Williamson has written the screenplays for four film adaptations, but they were directed by three people who interpreted the elements of his style quite differently.' (Cecilia Rice).
Dave Jones Talks with David Williamson From a 'Cinema Papers' Interview Dave Jones (interviewer), 1974 single work criticism interview
— Appears in: Cinema Papers , January 1974; (p. 6-9) Five Plays for Stage, Radio and Television 1977; (p. 143-146)
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Awards

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Last amended 13 Feb 2015 12:18:41
Tim Burstall
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