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AbstractHistoryArchive Description
'Young Dylan, from a small outback town, dreams of competing in the World Paper Plane Championships in Japan.'
Source: Screen Australia. (Sighted: 21/8/2013)
Adaptations
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y
Paper Planes
Melbourne
:
Penguin
,
2015
8045187
2015
single work
children's fiction
children's
'One paper plane flies straight and fast and true. Dylan's.
'Twelve-year-old Dylan Webber lives in outback Western Australia in a small country town. When he discovers he has a talent for folding and flying paper planes, Dylan begins a journey to reach the World Junior Paper Plane Championships in Japan.
'Along the way he makes unlikely new friends, clashes with powerful rivals and comes to terms with his family's past before facing his greatest challenge – to create a paper plane that will compete with the best in the world.
'Steve Worland brings you the exciting, heartwarming story of Paper Planes, adapted from the award-winning family film that features a cast of Australia's finest actors, including Sam Worthington, Deborah Mailman, David Wenham and Ed Oxenbould.'
Source: Publisher's blurb.
Teaching Resources
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Winging It
single work
review
— Review of Paper Planes 2014 single work film/TV 'With his latest film firmly aimed at children, director Robert Connolly has changed direction, hoping to inspire a new generation of Australian film goers, writes Karl Quinn' -
Cinema Plus : Robert Connolly and Event Audience Screenings
2017
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 77-84)This article discusses the problems that Australian films face in the big distribution model, and ways that producers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly's Cinema Plus exhibition company. Although there is a historical precedence set for Connolly's self distribution venture, this shift to rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of the porous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separate pools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way to reach the widest possible audience.
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Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films
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.
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Box Office Bonanza
2016
single work
column
— Appears in: The Advertiser , 22 January 2016; (p. 34) -
The 100 Best Australian Films of the New Millenium
2016
single work
column
— Appears in: FilmInk , 22 September 2016;
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Winging It
single work
review
— Review of Paper Planes 2014 single work film/TV 'With his latest film firmly aimed at children, director Robert Connolly has changed direction, hoping to inspire a new generation of Australian film goers, writes Karl Quinn' -
Fold-time Fun for Kids
2015
single work
review
— Appears in: The Age , 10 January 2015; (p. 12)
— Review of Paper Planes 2014 single work film/TV -
Nine Australian Movies to Watch in 2015
2015
single work
review
— Appears in: The Guardian Australia , 6 January 2015;
— Review of Mad Max : Fury Road 2015 single work film/TV ; The Dressmaker 2015 single work film/TV ; The Blinky Bill Movie 2015 single work film/TV ; Paper Planes 2014 single work film/TV ; Sam Klemke’s Time Machine 2015 single work film/TV ; Strangerland 2015 single work film/TV ; Kill Me Three Times 2014 single work film/TV ; Oddball and the Penguins 2015 single work film/TV ; The Daughter 2015 single work film/TV -
Paper Planes Review – A Heart-on-sleeve Tournament Movie for the Kids
2014
single work
review
— Appears in: The Guardian Australia , 14 January 2014;
— Review of Paper Planes 2014 single work film/TV -
Good Kids' Movie, Plane and Simple
2015
single work
review
— Appears in: The Sunday Mail , 11 January 2015; (p. 75)
— Review of Paper Planes 2014 single work film/TV -
Backyard Ashes a Flame for Self-Funded Success
2013
single work
column
— Appears in: The Australian , 13 November 2013; (p. 15) -
Paper Planes by Robert Connolly Wins CinéfestOz Film Award
2014
single work
column
— Appears in: The Guardian Australia , 23 August 2014; -
Aussies Storm Festival Stage
2014
single work
column
— Appears in: The Courier-Mail , 9 September 2014; (p. 20) -
Deb On a Level Plane
2015
single work
column
— Appears in: The Advertiser , 15 January 2015; (p. 32) -
Two of Us : Dylan Parker & James Norton
2015
single work
column
— Appears in: The Sydney Morning Herald , 17-18 January 2015; (p. 6) 'Marketing specialist Dylan Parker, 27, and landscape architect James Norton, 29, met at a paper plane competition in 2008. It was the start of a journey that inspired the film Paper Planes.'
Awards
- 2015 shortlisted Australian Academy of Cinema and Television Arts Awards — Best Original Screenplay
- 2015 shortlisted Australian Academy of Cinema and Television Arts Awards — Best Film
- 2015 shortlisted AWGIE Awards — Film Award — Feature Film - Original
- 2015 winner Film Critics Circle of Australia — Best Children's Film
- 2014 inaugural winner CinéfestOz Film Prize — $100 000 prize
- Australian Outback, Central Australia,