Ozploitation!

[Kunac]

Ozploitation: Exploitation From Down Under

Introduction

Ozploitation refers to the Australian exploitation films that were produced during a fruitful period in the 1970s and 1980s. Ozploitation films covered a range of genres, ones as diverse as Sexploitation (Alvin Purple, Pacific Banana), Biker films (Stone), Horror films (Patrick, Long Weekend) and even Kung Fu (The Man from Hong Kong). The most famous films to come out of this period were, for Australians: Razorback, BMX Bandits and for both Australians and International audiences: the Mad Max films.

The origin of the term

Writer-Director Quentin Tarantino had previously referred to the genre as "Aussiesploitation". When creating his documentary "Not Quite Hollywood", director Mark Hartley decided to use a shorter term to encompass the era and thus the term "Ozploitation" was born.

What is Ozploitation?

Unlike genres with established codes and conventions (such as sexploitation and beach party films), Ozploitation doesn't refer to a specific style of filmmaking. The main requirement for an Ozploitation film is that it simply be an Australian genre film. So the aforementioned Alvin Purple can be both Ozploitation and sexploitation. However, one important factor in these films was the way that they exploited Australian stereotypes and aspects of Australian culture to attain audiences within Australia and possibly overseas. Whether it be the "larrikin" attitude of its protagonists or be it the extreme Australian stereotypes in The Adventures of Barry McKenzie, Ozploitation films were distinctly Australian.

How did the "Ozploitation period" come to be?

Very little films were made during the 1960s in Australia (notable exceptions being Director Michael Powell's two Australian outings). Then in the 70s there was a flood of films being made in Australia. This period is often called the "Golden Age of Australian cinema" and it was in this period that Australia had its own cinematic New Wave. Various factors led to this boom. One major factor was that there were large tax cuts offered by the Australian government for those who funded Australian films. While this led to several high-profile art films being made, it was more instrumental in creating the big wave of genre films in Australia (which continued into the 1980s). With wealthy groups funding massive amounts of low-budget genre pictures to limit the amount of tax they had to pay, there was a boom in what became known as "Ozploitation". One other factor which was responsible for the type of films being made in Australia at this time was the introduction of the R rating. The Australian R rating restricted access to only audience members over the age of 18 years. This created a market that many Australian filmmakers were eager to supply to. In particular, this led to an increase in Sexploitation films to capitalize on the novelty of the R rating. One of the most notable examples is the film Alvin Purple.

Although there was a revival in Australian cinema during the 1990s, the Ozploitation period ended in 1980s. Recent Aussie films are often dramas and/or crime films and not much in the way of wild genre films are made. This is possibly the reason the Australian film industry is struggling.


LISTA FILMOVA:::

A

   * Alvin Purple
   * Alvin Purple Rides Again
   * Antony I. Ginnane
   * Australia After Dark

B

   * BMX Bandits
   * Barry McKenzie Holds His Own
   * Bloodmoon
   * Body Melt

D

   * Dark Age
   * Dead End Drive-In
   * Dead Kids
   * Deathcheaters

E

   * Eliza Fraser
   * End Play

F

   * Fair Game
   * Fantasm

   
F cont.

   * Fantasm Comes Again
   * Felicity

H

   * Harlequin
   * Houseboat Horror
   * Howling III

I

   * Inn of the Damned

L

   * Long Weekend

M

   * Mad Dog Morgan
   * Mad Max
   * Midnite Spares

N

   * Next of Kin
   * Night of Fear
   * Nightmares
   * Not Quite Hollywood

P

   * Pacific Banana
   * Patrick

R

   * Razorback

   
R cont.

   * Road Games

S

   * Sidecar Racers
   * Snapshot
   * Stone
   * Stunt Rock

T

   * The ABC of Love and Sex: Australia Style
   * The Adventures of Barry McKenzie
   * The Chain Reaction
   * The FJ Holden
   * The Love Epidemic
   * The Man From Hong Kong
   * The Naked Bunyip
   * The Survivor
   * The True Story of Eskimo Nell
   * Thirst
   * Turkey Shoot

W

   * Wake In Fright

[Tex Murphy]

Fino!
E sad, šta iskusni vukovi od ovoga preporučuju kao prioritet za gledanje?

[ginger toxiqo 2 gafotas]

...ako si mislio i na mene:
1. izvanredno briljantni dokumentarac na tu temu NOT QUITE HOLLYWOOD

potom...

Dark Age
Dead End Drive-In
Fair Game
Fantasm
Fantasm Comes Again (oba krcata golotinjinom golotinjom!!!)
Harlequin
Long Weekend
Mad Dog Morgan
Nightmares
Patrick
Razorback
Road Games
Snapshot
Stone
The Man From Hong Kong
Thirst

[crippled_avenger]

Ovde imaš moje komentare filmova iz ovog niza koje sam gledao i/ili nedavno reprizirao. A kako budem gledao još neke, reagovaću ovde na topiku.

http://www.novikadrovi.net/phpBB3/viewtopic.php?f=8&t=453

[Tex Murphy]

Thanks! Od svega ovoga gledao sam samo Razorbeka i to mi je jedan vrlo mio filmić  

[crippled_avenger]

http://www.popboks.com/tekst.php?ID=7228

[crippled_avenger]

New Int'l. Release
Love the Beast
(Documentary -- Australia)
By RICHARD KUIPERSRead other reviews about this film

Powered By A Madman Entertainment release of a Whyte House Prods., Pick Up Truck Pictures production. (International sales: William Morris Independent, Los Angeles.) Produced by Eric Bana, Peter Hill, Matt Hill. Executive producer, Stephen Hill. Co-producer, Brett Hardy. Directed by Eric Bana.

With: Eric Bana, Jay Leno, Jeremy Clarkson, Dr. Phil McGraw, Tony Ramunno, Andrew "Temps" Templeton, Jack Vukoja , Rebecca Bana, Ivan Bana.
Narrator: Eric Bana.
 Aussie thesp and pro racecar driver Eric Bana makes a middling debut as documaker with "Love the Beast," a chronicle of his 25-year relationship with his hotted-up '70s muscle car. Bana packs plenty of visual grunt for revhead auds, but his misty-eyed narration and awkwardly staged probing of man-car love with an Oz TV psychologist veer close to vanity-project potholes. Australia's legion of car enthusiasts will need to mobilize for the pic to notch meaningful mileage locally. Offshore theatrical prospects look iffy, with the tube a more likely pitstop.
Co-produced by Bana's Pick Up Truck shingle, the film opens with sticky nostalgia for cars being "what you lived for" when he was a teenager in Tullamarine, a working-class 'burb adjacent to Melbourne Airport. At 15, he acquired a beaten-up 1974 Falcon XB Coupe, famous locally as the "Interceptor" model in "Mad Max."

Dramatic thread follows Bana and lifelong buddies Tony Ramunno, Andrew "Temps" Templeton and Jack Vukoja souping up the Beast for the umpteenth time and entering it in Targa Tasmania 2007, a five-day rally on notoriously difficult public roads. Likable trio of archetypal Aussie males are good company, whether telling anecdotes or hanging out with fellow competitors and car-crazy spectators.

Popping up most frequently (to the docu's detriment) is "get real" TV guru Dr. Phil, who produces a string of warm and fuzzy assurances about hobbies being healthy, while Bana listens with near-cringe-inducing raptness. A guided tour of Jay Leno's classic car collection yields little more than celebrity show-and-tell, leaving Jeremy Clarkson, a popular co-host of British TV's "Top Gear," to nail the matter.

Without a tincture of irony, Clarkson says emotional relationships with autos are natural because "cars are living entities." Famous for his straight-talking style, Clarkson later scores big laughs telling Bana "all muscle cars are crap."

Biggest asset is Bana's likability. The actor is widely admired Down Under for his self-deprecating humor and shunning of the limelight, and his unpretentious manner and sincerity go a long way toward smoothing out the docu's frequent bumpy passages.

Filmed with all the helmet-cams and car-cams ESPN could ever demand, the exciting race visuals back up Bana's claim that driving fast gives him a focus and intensity he doesn't find elsewhere. Material culled from multiple sources is muscularly edited by Conor O'Neill ("Murderball"), and a soundtrack of Oz rock favorites keeps the tempo ticking.

More than one option(Person) Stephen Hill
(Person) Stephen Hill Singers
(Person) Stephen Hill
Actor, Executive Producer, SoundMore than one option(Person) Matt Hill
Director, Producer
(Person) Matt Hill
Voice, ActorCamera (color, HD-to-35mm), David Rose, Rod Pollard; editor, Conor O'Neill; music, Yuri Worontschak; sound designer (Dolby Digital), Emma Bortignon. Reviewed at Reel Room Theatrette, Sydney, Feb. 11, 2009. Running time: 92 MIN.

[Milosh]

http://www.geocities.com/outlawvern/ReviewsD.html#dead_end_drivein

[crippled_avenger]

Pogledao sam vrlo interesantan australijski indie triler/horor ACOLYTES izvesnog Jon Hewitta. Koliko vidim, Hewitt je pedesetogodišnjak i radio je nekoliko stvari pre ovog filma, međutim, po ACOLYTES bi se pre reklo da je reč o debitantskom filmu nekog aspiring filmmakera. U svakom slučaju posle ovog filma a na osnovu opisa naslova REDBALL i BLOODLUST (navodno zabranjenog u Britaniji) svakak0o bih potražio i njegove ranije filmove.

Naime, ACOLYTES savršeno simulira stil skrupuloznog indie filma na liniji Gus Van Santa i Larry Clarka, kako kroz glumu glavnih likova, tako i kroz dizajn i fotografiju i ACOLYTES (izuzev dosta traljavog tona na mojoj kopiji) deluje kao prilično upmarket film. Govori o troje mladih koji shvataju da su locirali grob jedne od žrtava serijskog ubice. Odlučuju da ga kontaktiraju i ucene, na krajnje neobičan način.

Ono što Hewittov film izdvaja od tipičnog edgy gritty Sundance trilera oslovnjenog na gusvansantovsku formu jesu vrlo oštri preokrti. Dok se kod Gus Van Santa priča razvija čehovljevski bez prevelikih preokreta, ovde su junaci raspoloženi za razne nestašluke a u par navrata scenaristi i preteruju u izvrtanju priče radi preokreta.

Međutim, Hewitt uspeva da napravi odličnu atmosferu i da u 87 minuta trajanja svoju već dosta puta viđenu priču učini svežom, pa čak i na tom nivou indie filma vrlo konkurentnom. zaista, u tom Gus Van Sant/Larry Clark univerzumu, Hewitt uopšte ne zaostaje na nivou vizuelne kulture.

Ono što ostaje kao pitanje jeste ravnoteža izmešđu žanrovske supstance i arty filma. Naime, u pojdinim deonicima žanr zahtev brži tempo, dok u nekim deonicama arty faktura zahteva mirniju manje senzacionalističku priču. Iako je ACOLYTES pitak film, čini mi se da hewitt nije uvek najbolje mirio te dve tendencije. Ipak, iako ACOLYTES možda nije veliki domet svakako stoji kao solidan primer genrebendinga.

* * 1/2 / * * * *

[crippled_avenger]

Naravno, treba dodati da u ACOLYTES značajnu ulogu imaju muscle cars. Ali, Ozploitationa ni nema bez muscle carsa...

[Ghoul]

BLOODLUST sam skinuo, na prelistavanje ne deluje previše obećavajuće, ali deluje gledljivo.

ACOLYTES mi se nije naročito dopao:
http://ljudska_splacina.com/2009/05/acolytes-2008.html

[svetlana]

OZPLOITATION  http://horrorclassics.lefora.com/2009/01/31/not-quite-hollywoodthe-wilduntold-story-of-ozploit/page1/


AUSTRALIAN HORROR FILMS  http://horrorclassics.lefora.com/2009/03/23/aussie-and-new-zealand-horror-colection/page1/#post13486155

[crippled_avenger]

Reprizirao sam ATTACK FORCE Z Tima Burstalla, australijski WW2 akcijaš navodno baziran na istinitim pričama australazijske specijalne jedinice koja je opreisala protiv Japanaca. Ovaj film sam gledao kao davno, pre skoro 20 godina, i ostao mi je u sećanju kao vrlo dinamičan i nasilan WW2 akcijaš. O najčuvenijem podvigu ove jedinice, infiltraciji u singapursku luku, kod nas je prikazivana i TV serija THE HEROES.

Ono po čemu je danas poznat film ATTACK FORCE Z jeste glumačka podela u kojoj je bio vrlo mladi Mel Gibson, još uvek neafirmisani Sam Neill i to je pružilo priliku John Philip Lawu da, ni kriv ni dužan, ima first billing.

Radost ubijanja okupatora je na nivou Brian G. Huttona, da ne kažem Hajrudina Krvavca. Štaviše, vojnici Sila osovine su verovatno najlegitimnija meta za iživljavanje filmskih autora u istoriji medija. Čak i neke životinjske vrste ili izmišljeni monstrumi bivaju tertirani humanije od njih.

U konkretnom slučaju ATTACK FORCE Z, egzekucija Japanaca je krajnje hladnokrvna i surova. Reklo bi se čak da su saveznički komandosi suroviji od Japanaca. Upravo su hladnokrvnost i surovost saveznika, iako ih igraju simpatični glumci, nešto po čemu se ATTACK FORCE Z izdvaja. Naime, komandosi ne prezaju od toga čak ni da uklone nedužne civile ukoliko bi moglui dovesti Japance do njih a isto važi i za ranjene drugove.

Drugi adut filma je to što je snimljen krajem sedamdesetih/početkom osamdesetih, i donosi neka rešenja akcionog filma tog doba te u nekim sekvencama deluje modernije od "guys on a mission" filmova jer su oni nastajali dosta ranije.

Uprkos modernizaciji ono što ATACK FORCE Z nije uspeo da prevaziđe jeste rasistički prikaz Japanaca koji je tradicionalan za WW2 filmove i ide u dva ekstrema gde je jedan prikazivanje Japanaca kao izbezumljene horde budala a drugi hipertrofiran prikaz časnih i sentimentalnih aristokrata. Japanci u oba slučaja bivaju tretirani rasistički. Od svih pripadnika Sila osovine, Japanci svakako imaju najgoru reprezentaciju na filmu i retki su filmovi koji to prevazilaze.

Burstallova režija je vrlo sigurna sa naročito efektnom prvom deonicom filma u kojoj skoro deset minuta nema fijaloga u scenama iskrcavanja na ostrvo.

Što se akcionih scena tiče, Burstall se u njima snalazi bolje nego u melodramskim a jednih i drugih ima podjednako. Dok akcione scene imaju dobar tempo, melodramske su vrlo spore i flah, sa neubedljivom razmenom emocija koja je u najboljim deonicama cheesy a u slabijim skoror pa nenamerno smešna.

John Philip Law ima veću ulogu od Gibsona i Neilla, međutim, njih dvojica se svojim šarmom izdvajaju iako role hladnokrvnih komandosa ne daju puno pilika za bravure.

ATTACK FORCE Z je prijatan guys on a mission film ali ne nudi ništa naročio onima koji nisu ljubitelji WW2 filma ili pak nisu fanovi Mela Gibsona.

* * 1/2 / * * * *

[shrike]

Smatra li se Brian Trenchard-Smithov The Siege od Firebase Gloria ozploitationom ili je to njegov pokušaj da se posle uspeha u Australiji okuša i u Americi?