form y separately published work icon The Coolangatta Gold single work   film/TV  
Issue Details: First known date: 1984... 1984 The Coolangatta Gold
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AbstractHistoryArchive Description

'Steve Lucas is a nineteen year old who is filled with the burning resentment of being forced to live in his brother's shadow. His brother Adam, is burdened by his father's desire for glory, and must win The Coolangatta Gold Tri-Aquathon, It is the greatest endurance test of them all: a marathon involving a 20 kilometre beach run, 6 kilometre swim and a 17 kilometre surf ski from Surfers Paradise along the golden arc of beach to Coolangatta and back to the start. The Coolangatta Gold is a story of human endeavour and endurance against overwhelming odds.' (Source: IMDB)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

y separately published work icon Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , London : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.

Crime Capital of Australia : The Gold Coast on Screen Stephen Stockwell , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 281-292)
'The Gold Coast has a crime problem, which will not come as a surprise to the viewers of the films and television programmes that feature Australia's sixth largest city. The vast majority of material set on the Gold Coast has criminal themes. The Gold Coast is an imagined city created, to a large degree, by a multiplicity of moving image artefacts produced by visitors. From the miles of amateur footage shot by tourists to pseudo-Hollywood blockbusters, the Gold Coast exists as a surf and sun paradise, at least in the minds of audiences around the world. However, analysis of a variety of moving image products suggests that not far behind the glitz and glamour of the beach-based boosterism is the grimy flip side of crime, corruption and desperation. This imagined paradise is encircled by sharks, both from the sea and the land. But the crime themes explored so far by the Gold Coast film industry do not address the real transgressions on which the city is founded, neither the deals that saw a city built on sand and swamp nor the dispossession of the original inhabitants.' (Editor's abstract)
On the Beach (No Not That One) Came a New Wave - Until the Tide Went Out Jim Schembri , 2011 single work column
— Appears in: The Age , 21 December 2011; (p. 16)
On the Beach (No Not That One) Came a New Wave - Until the Tide Went Out Jim Schembri , 2011 single work column
— Appears in: The Age , 21 December 2011; (p. 16)
Crime Capital of Australia : The Gold Coast on Screen Stephen Stockwell , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 281-292)
'The Gold Coast has a crime problem, which will not come as a surprise to the viewers of the films and television programmes that feature Australia's sixth largest city. The vast majority of material set on the Gold Coast has criminal themes. The Gold Coast is an imagined city created, to a large degree, by a multiplicity of moving image artefacts produced by visitors. From the miles of amateur footage shot by tourists to pseudo-Hollywood blockbusters, the Gold Coast exists as a surf and sun paradise, at least in the minds of audiences around the world. However, analysis of a variety of moving image products suggests that not far behind the glitz and glamour of the beach-based boosterism is the grimy flip side of crime, corruption and desperation. This imagined paradise is encircled by sharks, both from the sea and the land. But the crime themes explored so far by the Gold Coast film industry do not address the real transgressions on which the city is founded, neither the deals that saw a city built on sand and swamp nor the dispossession of the original inhabitants.' (Editor's abstract)
y separately published work icon Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , London : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.

Last amended 22 Dec 2011 09:37:51
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