Bad Behaviour : Content illustrated or designed by Anthony Marriott @ Arkhamhaus Images
   
Bad Behaviour Original Title Art and Credit Block--Written & Directed by JOSEPH SIMS
Producers KRIS MARIC STEVEN CALDWELL CRAIG A.KOCINSKI
Ricky Bartlett JOHN JARRATT
Clive Oldman ROBERT COLEBY
Jennifer Brown 	GEORGINA SYMES
Mark Brown DWAINE STEVENSON
Jane Bartlett JEAN KITTSON
Voyte Parker ROGER WARD
Peterson LINDSAY FARRIS
Director of Photography JUSTIN CERATO
Editor 	STEVEN CALDWELL
Production Designer SHAUN MCINTOSH
Costume Designer MELODY COOPER
Original Bad behaviour Concept poster

Joseph Sim's Debut Feature Film, BAD BEHAVIOUR, will hurl you into antagonists Emma and Peterson’s dark and vicious world as they flee from their fearsome nemesis: Voyte Parker. Sim's lurid genre blurring cinema will have you standing alongside Bartlett (John Jarrat) as he confronts his son's murderers in the sleepy seaside town of Cecil Bay. You'll wince at the actions of a man who discovers the depths of his wife's unfaithfulness. BAD BEHAVIOUR's storylines collide as two sociopathic drifters arrive in the sleepy coastal town of Cecil Bay, bringing with them a maelstrom of death and destruction.

This Serial Killer Thriller infuses an eerie fantasy-like landscape with a fine blend of graphic violence, distinctive characters and punchy dialogue.

Concept art is a form of illustration where the main goal is to convey a visual representation of a design, idea, and/or mood for use in films, video games, animation, or comic books before it is put into the final product. Also referred to as visual development / concept design and in the case of cinema posters- Key Art : the singular, iconographic image that is the foundation upon which a movie's marketing campaign is built.


Dr Mark David Ryan, studied Australia’s horror film industry for his PhD and noted that Australian horror film production has trebled from less than 20 films during the 1990s to over 60 films between 2000 and 2008. In an article examining the limitations of cultural policy that attempts to develop the Australian film industry, Ryan (2009) investigates the boom in Australian horror films outside of cultural policy frameworks and public subsidy. The article suggests that 'global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy – a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry’s financial limitations, they are a growth strategy for producers, and a training ground for emerging filmmakers'.

Australian audiences remain ambivalent about the Ozploitation genre, even more so than the distain or disinterest they show the Australian film industry. These films stand in almost stark juxtaposition toward other Australian films which attempt to define Australia as a suburban middle-class society of some sophistication, as exemplified by such nauseating films as The Getting of Wisdom, Looking for Alibrandi, Look Both Ways, Lantana, and Picnic at Hanging Rock (which actually references some aspects of Ozploitation in its malign representation of the Australian landscape). However, there are also notable exceptions in the genre, such as the Urban Gothic The Devil's Playground (1976), a semi-autobiographical film set behind the walls of the Roman Catholic Church, which so presciently signposts the later exposure of the sexual abuse scandals which continue to rock that church. While generally regarded as being of B movie status, many Ozploitation films nonetheless offer comment about Australian society at some level of seriousness.

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