Minimalist Menace: The Necks score 'The Boys'

Mitchell, A

Minimalist Menace: The Necks score 'The Boys'

Mitchell, A

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Publisher:: LaTrobe University, School of Communications, Arts and Critical Enquiry
Publication Type:: Journal Article
Citation:: Mitchell Anthony 2005, 'Minimalist Menace: The Necks score 'The Boys'', ScreenSound Australia, LaTrobe University, vol. 18, no. 1, pp. 1-13.
Issue Date:: 2005

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Field	Value	Language
dc.contributor.author	Mitchell, A	en_US
dc.date.accessioned	2009-08-20T13:01:49Z
dc.date.available	2009-08-20T13:01:49Z
dc.date.issued	2005	en_US
dc.identifier	2005002621	en_US
dc.identifier.citation	Mitchell Anthony 2005, 'Minimalist Menace: The Necks score 'The Boys'', ScreenSound Australia, LaTrobe University, vol. 18, no. 1, pp. 1-13.	en_US
dc.identifier.issn	1328-9756	en_US
dc.identifier.other	C1	en_US
dc.identifier.uri	http://hdl.handle.net/10453/995
dc.description.abstract	Rowan Woods' 1997 film The boys was released at a time when Australian cinema had just reached the end of its commercially viable, but at times rather shallow and gimmicky "Quirky" phase, signalled by films such as Baz Luhrmann's Strictly ballroom (Australia, 1992) and the Abba-drenched Priscilla queen of the desert (Elliott, Australia 1994) and Muriel's Wedding (PJ Hogan, Australia 1994). The boys was an example of an entirely different ethos which confronted far more serious, uncomfortable and disturbing themes relating to Australian masculinity and a culture of violence, as well as articulating a tougher, more arthouse-oriented film aesthetic. Part of this aesthetic involved a more focused approach to film music and an increasing tendency, wherever possible, to employ local Australian rock, classical or jazz musicians to provide film scores which expressed a strong sense of place and time.	en_US
dc.publisher	LaTrobe University, School of Communications, Arts and Critical Enquiry	en_US
dc.relation.ispartof	Screening the past	en_US
dc.title	Minimalist Menace: The Necks score 'The Boys'	en_US
dc.type	Journal article
utslib.citation.volume	-	en_US
utslib.citation.number	18	en_US
utslib.location	Melbourne, Australia	en_US
utslib.citation.startpage	1	en_US
utslib.citation.endpage	13	en_US
utslib.identifier.org	Media Arts and Production	en_US
utslib.copyright.status	closed_access

Abstract:

Rowan Woods' 1997 film The boys was released at a time when Australian cinema had just reached the end of its commercially viable, but at times rather shallow and gimmicky "Quirky" phase, signalled by films such as Baz Luhrmann's Strictly ballroom (Australia, 1992) and the Abba-drenched Priscilla queen of the desert (Elliott, Australia 1994) and Muriel's Wedding (PJ Hogan, Australia 1994). The boys was an example of an entirely different ethos which confronted far more serious, uncomfortable and disturbing themes relating to Australian masculinity and a culture of violence, as well as articulating a tougher, more arthouse-oriented film aesthetic. Part of this aesthetic involved a more focused approach to film music and an increasing tendency, wherever possible, to employ local Australian rock, classical or jazz musicians to provide film scores which expressed a strong sense of place and time.

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http://hdl.handle.net/10453/995