Not Quite Hollywood
by This has to be one of the best documentaries ever to grace a cinema screen. Following the history of Australian made exploitation films, and the burgeoning Oz film industry that grew from this oft-forgotten genre, Not Quite Hollywood follows the rise, rise and headlong fall of Ozploitation. Featuring interviews with the directors, producers and critics at the height of their game during the 70s and 80s, not to mention the modern master of the genre film, Quentin Tarantino, Not Quite Hollywood is a hilarious ride through plot-holes as big as Ayres Rock (yes, of course we needed some gratuitous Aussie reference in there somewhere) decorated by bad props and buckets of blood-splattered-gore.
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Also by JO SPURLING
Australian illustrator Ken Taylor has created imagery for some of rock n’ ’roll’s great purveyors of sound, from the Rolling Stones and Queens of the Stone Age, to Nine Inch Nails and the Mars Volta. He has an easily recognizable style that screams sharp edge cool. Bold and bawdy, Taylor’s pieces use vivid colour to create a cut-out-comic-like feel reminiscent of old movie posters from the 1930s and 40s.
Beautiful, delicate, fragile, a little bit collage, a little bit sketchfull. This is the work of Kelly Smith. Combining several mediums in a collaborative expose between pencil, paint and print to create timeless works of elegant splendour, it is easy to compare Smith’s works to the last snowflake of winter, fleeting but real, avoiding the brash bright mercantile world for the prettier climes of illustrative pleasure. Smith has a twelve-day exhibition on at the 696 Space in Brunswick, Melbourne, opening November 14.
Trapped in a time warp between then and now, the work of Brandt Peters combines an old school aesthetic with a modernity bordering on futuristic fantasy, with a touch of morbid fascination thrown in for good measure. In other words, he creates wonderful imagery combining cartoon-like pin-ups with sometimes freakish attributes (large skulled beings, for instance), and every now and then seems to throw in a nod to sci-fi — such as a mechanical glass jar — for good measure. Muted tones replace the bawdy colours often associated with such mediums, giving his pieces a whimsical, dream like quality. He must live in a delightfully wispy world.
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Scanners’ new single Salvation
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