person or book cover
Screen cap from promotional trailer
form y separately published work icon LBF single work   film/TV  
Adaptation of Living Between Fucks Cry Bloxsome , 2009 single work novel
Issue Details: First known date: 2011... 2011 LBF
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AbstractHistoryArchive Description

'Based on the cult novel by Cry Bloxsome, LBF (aka 'Living Between Fucks') follows Paris based writer Goodchild (Toby Schmitz) as he returns to Australia for the funeral of his ex-girlfriend, The Dead Girl (Gracie Otto) and steadily goes off the rails. He becomes entangled with The Beautiful Financial Backer (Bianca Chiminello), who commissions him to write The Love Enterprise - a piece of corporate branding masquerading as Beat poetry. Charged with this new task and a heady cocktail of booze and drugs, Goodchild interviews people he encounters along the way. Drugs, parties, love, sex, lust, sobriety, solitude, no-sex and death collide in this hyper real, pop-culture infused portrait of twenty-something Goodchild, as he drifts through his life, memories and rock n' roll. A classic tale of sex, nihilism and urban summer heat, with a great cast of emergent talent including Toby Schmitz, Bianca Chiminello and Gracie Otto, all driven by an all Australian indie soundtrack. Performing live songs are: Teenagers in Tokyo, Kids At Risk, Tennis and Fergus Brown. On the soundtrack are: The Model School, Operator Please and Boy & Bear. LBF is a 'pop-art' film about love, loss and desperation.' (Source: http://www.lbfthefilm.com/ )

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films Lauren Carroll Harris , 2017 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)

This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.

Expensive Words, Cheap Images : 'Scripting' the Adapted Screenplay Alex Munt , 2013 single work criticism
— Appears in: Journal of Screenwriting , vol. 4 no. 1 2013; (p. 57-76)
Expensive Words, Cheap Images : 'Scripting' the Adapted Screenplay Alex Munt , 2013 single work criticism
— Appears in: Journal of Screenwriting , vol. 4 no. 1 2013; (p. 57-76)
Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films Lauren Carroll Harris , 2017 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)

This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.

Last amended 7 Dec 2022 13:37:39
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