Despite post-dating the third film in the series by some thirty years, this instalment is said to fit in the timeline somewhere between films one and two.
Max Rockatansky, trapped in the citadel of warlord Immortan Joe, crosses paths with Imperator Furiosa, who is on a mission to free Joe's enslaved 'brides' and take them to the Green Place, the Land of Many Mothers.
Writing Disability in Australia
Type of disability | Missing forearm (occasional prosthetic use). |
Type of character | Primary. |
Point of view | Third person. |
Preppers and Survivalism in the AustLit Database
This work has been affiliated with the Preppers and Survivalism project due to its relationship to either prepping or prepper-inflected survivalism more generally, and contains one or more of the following:
1. A strong belief in some imminent threat
2. Taking active steps to prepare for that perceived threat
3. A character or characters (or text) who self-identify as a ‘prepper’, or some synonymous/modified term: ‘financial preppers’, ‘weekend preppers’, ‘fitness preppers’, etc.
As a tier two work, this text has been identified as key to prepping in a broader, more conceptual relationship. These texts have been classified as ‘key’ prepper-adjacent texts that are important to prepping, even if they themselves are not about prepping or do not include preppers. These texts have been identified in the database through various means such as interviews with preppers, scholarship on preppers, and online prepper forums.
'While scholarly discussion of disability in Australian narrative has focused on disability as a representational device, used to reinforce a hypermasculine and able-national identity, this article draws on Ato Quayson's aesthetic nervousness to establish patterns of cultural critique throughout Mad Max: Fury Road, layered on and through capitalism and gender representation. Strong female protagonists have been a recurring character in action genres since the 1980s yet have often been absent in Australian national cinema. There is barely a scene in Fury Road that does not include a disabled body and/or a woman. Furiosa's counterpart is not Max but Immortan Joe. Both bodies are impaired and use prosthesis. However, the role of Joe's prosthesis is to hide his decaying body, while the role of Furiosa's seems only to exist in Joe's world. Throughout this article, the authors invoke critical disability studies to argue that disability and gender are central to the aesthetic of Fury Road and to conveying its sociopolitical messages. In an ensemble filled with women, Furiosa's distinguishing feature is no longer her gender but her disability.' (Publication abstract)
'The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film—Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic vision from the male-dominated world with civilization collapsing into chaotic violence visualized in the previous series to a more hopeful future created by women in the last part of the saga: Mad Max: Fury Road (2015). We observe female heroes: the vengeful Furiosa, the protector of oppressed girls and sex slaves, the women of the separatist clan, and the wives of the warlord, who bring down the tyranny and create a new “green place.” It is worth emphasizing that the plot casts female solidarity in the central heroic role. In fact, the Mad Max saga emerges as a piece of socially engaged cinema preoccupied with the cultural context of gender discourse. Noticeably, media commentators, scholars and activists have suggested that Fury Road is a feminist film.' (Publication abstract)