Production

In: Film and Music

Submitted By hitanderson
Words 957
Pages 4
* Dundee as a "hybrid" of information (the real Paul Hogan's media personality and identification with Australia and the Australian) * Crocodile Dundee combined recognisably different dramatic forms: "the fish out of water" comedy with a 'populist' address * Crocodile Dundee was marketed in Australia as a blockbuster. Before the 10BA Tax Incentives blockbuster production was severely handicapped by lack of funds and publicity infrastructure. 10BA made both possible. Several general points about Crocodile Dundee as a blockbuster film are worth making to begin with. As a product of the tendency for box office revenues to concentrate in a handful of films in any one year, this blockbuster phenomenon (like The Godfather (1974) and Star Wars (1977)) led Hogan and Cornell to try and create a film "event" and to manage it appropriately. They did this in a number of ways. * Both the publicity and the release patterns worked to create the film as an event, as a phenomenon. * This was achieved through a multi-levelled and simultaneous campaign across the media (TV, magazine, radio, newspapers, and advertising) involving appearances, interviews, features articles, stories, and ads relating to Hogan, the film and its other creative talent (Linda Kozlowski, Faiman etc) * Given the double edged provisos of audience and social text it is not surprising that Dundee's producers had their origins in commercial TV. Crocodile Dundee was based on the TV comic and ad personality developed as (by) Paul Hogan in conjunction with "Strop" Cornell (a former straight man to Hogan in the Paul Hogan Show). It was directed by Peter Faiman better known for his work with Hogan, for live TV and music specials. * All the same, as a blockbuster production by 'first time' producers, directors and leads, Crocodile Dundee carried with it its own risks in the Australian context. To…...

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