person or book cover
Screen cap from promotional trailer.
form y separately published work icon Peter Pan single work   film/TV   children's   adventure   fantasy  
Issue Details: First known date: 2003... 2003 Peter Pan
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

The first live-action sound film version of J.M. Barrie's work, Peter Pan tells the story of the boy who never grew up, and his adventures in Neverland with both the Lost Boys and London children Wendy, John, and Michael, as well as the Lost Boys' ongoing battle with the sinister Captain Hook.

The film preserves the stage tradition of using the same actor to play both Captain Hook and Wendy, John, and Michael's father, Mr Darling, but breaks with tradition in casting a male actor (rather than a young girl) as Peter.

Notes

  • The trailer for this film is available to watch via YouTube: http://www.youtube.com/watch?v=MKnI2KPMEjs (Sighted: 1/6/2012).

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Defining Neverland : P. J. Hogan, J. M. Barrie and Peter Pan in Post-Mabo Australia Jerod Ra'Del Hollyfield , 2018 single work criticism
— Appears in: American–Australian Cinema : Transnational Connections 2018; (p. 275-294)
Analyses P.J. Hogan's Peter Pan through J.M. Barrie's Peter Pan and the film's associations with Australian colonial history in the melancholic presentation of the multi-racial Neverland.
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.

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.

Defining Neverland : P. J. Hogan, J. M. Barrie and Peter Pan in Post-Mabo Australia Jerod Ra'Del Hollyfield , 2018 single work criticism
— Appears in: American–Australian Cinema : Transnational Connections 2018; (p. 275-294)
Analyses P.J. Hogan's Peter Pan through J.M. Barrie's Peter Pan and the film's associations with Australian colonial history in the melancholic presentation of the multi-racial Neverland.
Last amended 1 Jun 2012 10:27:31
Settings:
  • c
    England,
    c
    c
    United Kingdom (UK),
    c
    Western Europe, Europe,
Newspapers:
    Powered by Trove
    X