Dutch Tilt, Aussie Auteur : The Films of Rolf de Heer
Saarbrucken
:
VDM Verlag
,
2009
Z1786072
2009
single work
criticism
'Dutch Tilt, Aussie Auteur: The Films of Rolf de Heer"is an auteur analysis of the twelve feature films directed (and mostly written and produced) by Dutch-born Australian director, Rolf de Heer. From his debut feature film after graduating from the Australian Film, Television and Radio School, the children's story about the restoration of a Tiger Moth biplane, Tail of a Tiger (1984) to his breakout cult sensation Bad Boy Bubby (1993) which "tore Venice [Film Festival] apart" to the first Aboriginal Australian language film Ten Canoes (2006) which scooped the pool at the Australian Film Institute awards, de Heer has consistently proven himself unpredictable. This analysis of his films, however, suggests that Australia's most innovative film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, his 'Dutch tilt' is very much not Hollywood, but is nevertheless representative of a typically Australian world-view.' (Publisher's blurb)
Dutch Tilt, Aussie Auteur : The Films of Rolf de Heer
Saarbrucken
:
VDM Verlag
,
2009
Z1786072
2009
single work
criticism
'Dutch Tilt, Aussie Auteur: The Films of Rolf de Heer"is an auteur analysis of the twelve feature films directed (and mostly written and produced) by Dutch-born Australian director, Rolf de Heer. From his debut feature film after graduating from the Australian Film, Television and Radio School, the children's story about the restoration of a Tiger Moth biplane, Tail of a Tiger (1984) to his breakout cult sensation Bad Boy Bubby (1993) which "tore Venice [Film Festival] apart" to the first Aboriginal Australian language film Ten Canoes (2006) which scooped the pool at the Australian Film Institute awards, de Heer has consistently proven himself unpredictable. This analysis of his films, however, suggests that Australia's most innovative film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, his 'Dutch tilt' is very much not Hollywood, but is nevertheless representative of a typically Australian world-view.' (Publisher's blurb)
