Yakkety Yak

"Made by Canadian David Jones, this no-budgeter filmed in the bowels of a local university is by turns wild, crazy and hilarious. A bent meditation on the making of a no-budget flick no other Oz film before or since has managed to be so intentionally filled with film references and remain so gut-bustingly and honestly funny. While YAKKETY YAK is likely to entertain anyone from your six-pack Joe average to dilettante Cinema 101 film students, it remains criminally hidden from a wider audience."



Australian reflexivity

Author: Joel Stern

'Have you seen Dalmas or Yackety Yack? Two fantastic examples of an experimental and innovative Australian cinema? Here is an obligitory back-of-the-video-style plot summary.

Yackerty Yack ( Dave Jones 1974) presents three academics attempting to make a film, a collaborative film, a film which will disintegrate the distinction between cinema 'real' and real 'real'. Unfortunately, Maurice's (Dave Jones) idea of collaboration is to reject and mock the ideas of the others, to delete (in post-production, which has already occured as we watch the film) any conflictory [sic] comments, and to eventually murder the crew as well as three unsuspecting actors 'found wandering around campus', in a meglomaniacal quest for ultimate control over the 'reality' of the filmmaking process.'


Author: Joel Stern

Dalmas & Yackerty Yak

Dalmas ( Bert Deling) was completed in 1973 on a budget of approximately $10,000 supplied by the Experimental Film and Television Fund. Yackerty Yack (Dave Jones) was completed by the end of 1972 also with financial assistance from the Experimental Film and Television Fund. Both Dalmas and Yackerty Yack sit firmly in the category 'film on film'. Both are interested in foregrounding the effect that particular production processes have on the creation of meaning in film. Where the two films differ greatly is in the type of meaning that they create. Yackerty Yack uses reflexivity in order to reinforce its nihilistic ideology, as a tool for the constant revealing of meaninglessness where meaning might have existed in conventional cinema. This might be interpreted as an academic approach to reflexivity. Dalmas uses reflexivity in order to pursue an idealistic model in which the stripping away of constructed cinematic artifice produces a type of liberation where, free of narrative structure, film becomes a medium for honest, real self-expression. These diametrically opposed applications of reflexive technique produces various moments of fantastic contrast between the two films.

Please email Milesago if you have any extra information to add to this page
Copyright ©Milesago 2002
Please report any broken links to webmaster@milesago.com