Is Mad Max: Fury Road better than the ‘originals’?

Once again it has been a while since my last post. We were thrown in at the deep end at the beginning of this year, and I’ve been left with little time for anything other than my uni work. But with the first three projects of the year completed I have some breathing room to update you on my progress. My work for our two design projects will follow, but for now how about my Critical and Contextual Studies essay from last year?

While writing essays can be a little tortuous for me, I did really love writing this one – or maybe I just loved that I got to write about a topic I was interested in and produced an essay I was proud of. It’s a shame I couldn’t talk about Jenny Beavan’s BAFTA winning costumes more, but I think you can tell who I thought should have won Special Visual Effects at this year’s awards.

How important is authenticity or originality in a work of ‘art’?

In this essay I aim to discuss how important the concept of originality is regarding the film Mad Max: Fury Road (2015). The Mad Max trilogy: Mad Max (1979), Mad Max 2: The Road Warrior (1981) and Mad Max Beyond Thunderdome (1985) possess originality, because they were made first, and for a while were unique. I will compare them to the recently released reboot, to decide whether the ‘originals’ or Fury Road are more successful films, and whether this is because they are originals. I will argue that Fury Road is a better film for having evolved from a tradition where three originals have already been made. Director George Miller has learnt from making the original trilogy and has returned with a new and improved version, updated for modern audiences. Technology, politics and changing values about equality have all had an impact on his filmmaking practice.

All the Mad Max films use dystopian themes that resonate with contemporary audiences. Walter Benjamin argues that ‘the manner in which human sense perception is organised, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well.’ (2007, p. 216) Audiences view films in context to the times they are from. Stephen Maher writes that the first two films ‘use visions of a collapsing society to express middle-class fears about the spread of urban criminality into suburban spaces, and the superficiality and emptiness of modern life.’ (2015) Nathan Abrams, Ian Bell and Jan Udris, write that the science fiction genre rests on ‘the ‘what if?’ question’ (2001, p. 185). Mad Max was inspired by the violence that accompanied the 1973 oil crisis. This particularly resonated with the audience because it showed them a possible, close at hand future, where fuel shortages have sparked violence and chaos. Ben Rawson-Jones supports that one reason Mad Max remains ‘so effective is because it all feels vaguely plausible.’ (2015) Road Warrior demonstrates further societal breakdown, revealing the aftermath of a great war between two ‘warrior tribes’. As Paul Mason observes, with the beginning of the ‘new cold war’ in 1979 ‘it became possible to imagine the world ending in a ball of flame, and what a post-apocalyptic society might look like.’ (2015) Beyond Thunderdome shows us the ruins of a modern city, and confirms that nuclear weapons are to blame. The attempt at civilisation depicted emulates our own: a world of commerce, lacking in spiritual values, where our leaders, like in Bartertown, ‘can make incremental progress but instead of bringing about reform, they are satisfied benefiting from the fallen state of things.’ (Sanes, 2000) The originals all connect to audiences by offering a possible, dark future for the world at the times they were made.

Fury Road shows us the most desolate landscape of all. Aligning with today’s audience anxieties about climate change, Fury Road shows ‘the disintegration of society and the regression of humanity into barbarism [that] goes hand in hand with widespread ecological destruction and resource scarcity’ (Maher, 2015) Civilisation is reduced to one despot who deals in commodities, among them water, food, gasoline and ammunition. Among his slaves, his educated wives ask ‘Who Stole the World?’ One possible answer is ‘toxic masculinity’ (feministmadmax, 2015). The question, and film, stand as a warning to the leaders of today that the situation is in their hands. Bryan Ghingold writes that ‘science fiction has been a tool for authors and filmmakers to warn us about our own decadence, greed, and quest for knowledge and control.’ (2011) In Fury Road we see a slave state run on false religious fervour, and the objectification of men and women alike. The chosen few women are objects for procreation and the harvesting of their milk; and men and boys become parts of machinery or soldiers. Once again Miller gives us an exaggerated version of the real world, past and present. Maher points to the metaphor of suicide bombing in regards to the War Boys’ aspiration for a glorious death in service to their godhead, and subsequent entry into Valhalla. (2015)

Erik Kain argues that there are ‘a jarring number of survivors, and feels more like a civilisation than a post-apocalyptic future of isolated settlements and roaming bandits.’ (2015) However, this gives more scope to the situation, giving a clearer and more desolate picture of the world. In the originals we have no idea what the rest of the world looks like or how people are living. Both the originals and the reboot are successful in showing what could happen if the world continued on its current paths. But Fury Road creates a world, though set further in the future than the originals, that has more parallels with our own world, and therefore raises more questions and has a greater impact on contemporary audiences.

Online media means that people all over the world are watching Fury Road simultaneously and commenting on it. Benjamin argues that ‘the greatly increased mass of participants has produced a change in the mode of participation.’ (2007, p. 232) Online media influences audiences’ perceptions. Mad Max prompted outrage on release, for its violence and ‘exploitative take on heroism.’ (Mason, 2015) Fury Road on the other hand, has sparked positive debate about the representation of women in film. This created media attention for the film, increasing its viewing numbers, and in turn showed the industry that people want to see, and enjoy seeing, women with agency in film. Rawson-Jones writes that the originals don’t lack ‘warrior women’ either. (2015) But Sasha James argues that ‘with the exception of Tina Turner’s Aunty Entity [in Beyond Thunderdome], there is no focus on female agency – especially in regard to heroism.’ (2015) Fury Road’s use of gender and sex is utilitarian. The female characters ‘use their womanhood as a weapon’ and are able to ‘enact as much agency as its men. They are allowed to survive by whatever means are available to them.’ (2015)

Mad Max is simply a fantastical speculation of a dystopian future, while Fury Road is more successful at making a political point. The originals do not attempt to address gender even though the issue was around at the time. James asks whether Fury Road is Miller’s answer to his own misogynist franchise. (2015) Science fiction can be used to address concerns about ideology as much as technology. (Abrams, Bell and Udris, 2001, p. 185) Fury Road tries to alter the real world by drawing our attention to the injustice of inequality. In the film people are ‘reduced to objects valued only for their utility.’ (Richmond, 2015) This might seem an extreme scenario but in some parts of the world slavery, sexism and other kinds of discrimination have and do exist. In Fury Road ‘the world director and writer George Miller has created shows the horror of sexism and the necessity of freedom from patriarchy.’ (Valenti, 2015) He has addressed the same issues as in the original, but has added gender, relevantly and effectively.

New techniques and technologies in filmmaking, invented since the originals were made, has meant that the spectacular visuals at the core of Fury Road, were possible. Making the film with the intention of releasing it in 3D pushed the filmmakers further visually. As Benjamin says ‘the work of art produced becomes the work of art designed for reproducibility.’ (2007, p. 218) The filmmakers have made more dynamic action sequences by incorporating movement that lends itself to a 3D viewing. Rawson-Jones argues that in Mad Max: ‘there clearly wasn’t much money to play with, unlike the expansive Fury Road, yet what George Miller excels at is orchestrating and executing every action sequence and emotional beat to precision. The carnage that ensues when the cars and bikes thunder across the roads is on a tiny scale compared to Fury Road, but still instils that same immersive sense of jeopardy and lodges hearts firmly in mouths.’ (2015) However the use of CGI in Fury Road has allowed Miller to make a much faster paced, visually stunning car chase. Kain argues that it is simply a new, vamped up, extended version of the one in The Road Warrior, and that ‘it does lose some of the gritty realism that made Road Warrior so effective.’ (2015) However the CGI, used in conjunction with real stunts and practical effects, adds another level and quality to the action on screen.

CGI has also helped create a more established despotic world. The Citadel’s towers are entirely CGI, but built up of photography of mountains, to create a new but natural looking structure. (Flicks and the City, 2015) As Debord argues, ‘the spectacle that falsifies reality is nevertheless a real product of that reality…Reality emerges within the spectacle.’ (1983, pp. 8-9) Kain argues that the use of CGI ‘detracts from a sense that this is our world laid low by nuclear war.’ (2015) But where in Mad Max and The Road Warrior the Australian ‘wasteland’ was clearly recognisable, with it’s vestiges of society – roads, houses and businesses – in Fury Road we have a barren desert, and an unrecognisable city. It is clearer than ever that we are on a post-apocalyptic Earth, flattened by nuclear war.

Benjamin explains how new technologies and techniques can enhance the visual experience. (2007, pp. 229-230) Being able to use digital cameras in Fury Road meant easier editing and adding of visual effects. The cinematographer John Seale says ‘you can change it, manipulate it, [it] allows you [to] do anything you like. I know with Mad Max [Fury Road], it won’t look anything like a ‘good film image’ and it won’t look anything like a ‘good digital image’…it will look like its own image. I think that’s the wonder of it.’ (2015) The visual effects which include sky replacement, innovative colour grading, extensive environment work, and some pyrotechnics, have created a visual experience that surpasses the originals. (WIRED, 2015)

The original films’ narratives are borrowed from the classic Western. Max is the solitary fighter who ends up a hero. He is ‘the lone gunman in the dusty West, up against the group of outlaws, helping protect the good townsfolk.’ (Kain, 2015) In Road Warrior this is exactly what happens. Beyond Thunderdome ‘like Westerns and other frontier stories, it is about humanity’s exile from civilization, and the founding, or, in this case, the refounding, of civilization.’ (Sanes, 2000) Voltaire argued that ‘originality is nothing but judicious plagiarism.’ (Deathridge, 2003) All the films borrow from each other and outside influences, Fury Road is part of the Mad Max ‘tradition’. Deathridge argues that ‘people prefer the idea of originality, something new, or someone who’s producing something new, inside a tradition without realising those two things are rather contradictory, because you can’t have a tradition without people stealing from everybody else and sharing a language.’ (2003) Benjamin argues that ‘the uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition.’ (2007, p. 217) Kain argues that Fury Road is a big budget remake of the action sequence in The Road Warrior (2015) In Road Warrior ‘the audience sees only what Max sees. It feels very personal…Even the big action sequences are carried out with some sense of intimacy.’ In Fury Road ‘since we see the world through both her [Furiosa’s] and Max’s eyes (and from the perspective of the villain Immortan Joe and the War Boy Nux) we maintain a wider, less personal scope.’ This is likely deliberate on Miller’s part, he wants us to experience, and therefore understand, this world from different viewpoints.

Miller has had 30 years to collect ideas and meditate on his plot.‘Benjamin conceives texts – and memory, too – as material, as woven.’ (Leslie, 1998, p. 7) ‘The ability to tell stories, Benjamin tells us, is rooted in two factors; travel to faraway places and knowledge of past local lore.’ (p. 5) In the modern world knowledge of faraway places, as well as an array of stories from different places and genres, is easily accessible through things such as the media, television and the internet. Fury Road is rooted in the tradition of Mad Max, and the traditions of the genres of westerns and science fiction dystopias. ‘Fury Road feels like a Mad Max film ought to feel. Weird, almost incoherent, a bizarro punk-rock muscle car vision of the future, where gas is scarce but everyone drives fast and burns it anyways.’ (Kain, 2015) It fits with the originals, but the narrative has been crafted for the times, to be powerful and thoroughly entertaining.

In regards to the importance of originality in the Mad Max films, it does not matter that Fury Road is not one of the originals. But it is better for having evolved from them. It uses the same genres of western and dystopia to comment on modern issues, but is more successful. As a social commentary Fury Road has more impact because, while Miller has addressed similar issues, he has done so more obviously. The reaction to this film, which is due to a combination of discussion of its representation of women and its spectacular visuals, has mainly been possible due to the prevalence of social media, and online media in general. Technology has also made it possible to improve upon the action and landscapes of the original films. Fury Road could not be what it is without belonging to the Mad Max ‘tradition’, but Miller has updated and improved the narrative and message. As Mason says ‘the subtext of most modern dystopias is the futility of rebellion…In Mad Max: Fury Road rebellion happens. It is spectacular, it is feminist.’ (2015)

Works cited:
Mad Max (1979) Directed by George Miller [Film]. UK: Warner Bros.
Mad Max 2: The Road Wrrior (1981) Directed by George Miller [Film]. UK: Warner Bros.
Mad Max Beyond Thunderdome (1985) Directed by George Miller and George Ogilvie [Film]. UK: Warner Bros.
Mad Max: Fury Road (2015) Directed by George Miller [Film]. UK: Warner Bros. Pictures

Abrams, N., Bell, I. and Udris, J. (ed.) (2001) Studying Film. Great Britain: Arnold. Studying the Media.
Benjamin, W. (2007) ‘The Work of Art in the Age of Mechanical Reproduction’, in Arendt, H. (ed.) Illuminations. New York: Schocken Books.
Debord, G. (1983) Society of the Spectacle. Detroit: Black & Red.

Leslie, E. (1998) ‘Walter Benjamin: Traces of Craft’, Journal of Design History, Vol. 11 No. 1, pp. 5-12. doi:

Online Newpapers/Magazines:
James, S (2015) Mad Max: Fury Road: George Miller’s Feminist Answer to His Own Franchise? Available at: (Accessed: 8 June 2015)
Kain, E. (2015) ‘Mad Max’ Review: 5 Reasons Why ‘Road Warrior’ Is Better Than ‘Fury Road’ Available at: (Accessed: 9 June 2015)
Maher, S. (2015) Mad Max and the End of the World Available at: (Accessed: 9 June 2015)

Mason, P. (2015) The ultra-violent world of Mad Max no longer shocks us – it’s too close to reality. Available at: (Accessed: 8 June 2015).
Rawson-Jones, B. (2015) Re-Viewed: Mad Max – How does the 1979 original compare to Fury Road? Available at: (Accessed: 8 June 2015)
Valenti, J. (2015) Sexists are scared of Mad Max because it is a call to dismantle patriarchies. Available at: (Accessed: 10 June 2015).

Cinematographer John Seale captures ‘Mad Max: Fury Road’ (2015) Available at: (Accessed: 9 June 2015)
feministmadmax (2015) hey girl Available at: (Accessed: 10 June 2015). Ghingold, B. (2011) Science Fiction: Tool of Social Critique Available at: (Accessed: 9 June 2015)
Richmond (2015) We Are Not Things: The Themes and Imagery of Mad Max: Fury Road. Available at: (Accessed: 8 June 2015).

Flicks and the City (2015) 12 Things You Didn’t Know About Mad Max Fury Road. Available at: (Accessed: 11 June 2015)
WIRED (2015) Mad Max Fury Road: Choreographing Complex Stunts & Car Chases | Design FX. Available at: (Accessed: 9 June 2015).

Hat Design Project

So it’s been a long time since I’ve posted anything! Between holidays, house hunting, moving out, moving in, and then having no internet I haven’t really had the time to get as much sewing or blogging done as I’d have liked. In classic Phoebe Roberts fashion I have several unfinished personal projects on the go at the moment including an elizabethan hat, a shirt for my dad, and the 19th Century Corset. So here’s a post about a project from 1st year where we had to design and make a hat to tide you over.

We were given different categories, ways of approaching design, that we had to explore. For example natural forms, reversal of meaning, style fusion etc. The hat I chose to make was a fusion of an Ancient Egyptian headdress and a Bauhaus painting.


King in red wicker work crown of Lower Egypt 3000BC from ‘The Mode in Hats and Headdresses’ by R. Turner Wilcox


Composition from masters’ portfolio of the Staatliches Bauhaus 1923 by László Moholy-Nagy


my fusion hat design

After making a mock up of the Egyptian hat from the pattern in From the Neck Up: An Illustrated Guide to Hatmaking by Denise Dreher, an amazing book now out of print and therefore expensive to get hold of, I wish I could own a copy. I then made the pattern for my hat using the flat pattern cutting ‘slash and spread’ method. I made a mock up out of card to test the the size and shape on my head, adding extra to the width so that once covered in fabric it would still fit. At this point I did not make the pattern for the tip.

buckram pattern

buckram pattern

top fabric pattern

top fabric pattern

I then cut my hat pieces in brown buckram, and then two layers of heavy weight fusible interfacing. For my top fabric I wanted something soft to stitch into, wool was too expensive so I ended up buying a fabric used for lining curtains. While the rest of my hat was cut in two pieces (due to buckram width constraints), I cut the top fabric in one, placing the seam where I knew it would be covered by decoration.

When I had my hat wired and covered, I could decide on the final placing of my coloured rectangles. Originally they were all going to be fabric, but in the end the majority ended up being stitch. I was heavily influenced by these images I found on Pinterest.patternprintsjournal12wells 5153873426_0c384113d6_zIMG_2492

I sampled on some scraps of buckram and fabric before working on my hat.


Once the decoration was finished it was time for the tip. I made the pattern simply by placing paper on the top of my hat and drawing the shape. I lined the pieces separately with white cotton, and then slip stitched the two together. Ta da!
IMGA0057IMGA0041IMGA0050IMGA0066And here’s some close ups.IMG_0657 IMG_0664 IMG_0665IMG_0661


Possible Improvements: I would make the darts at the back bigger so that it sits more closely to the head at the back.

If you’d like to see more of my hat designs for this project, as well as some of my inspiration, have a look on my Pinterest boards phoebe roberts designs and makes, and hats and masks.

19th Century Corset: Pattern

Having chosen what style of corset I want to make from my research, it’s time to make the pattern. I started by making a corset block to my measurements.IMG_0550Then I altered the block to make a pattern similar to the 1890s corsets. P.S. I know I’m cheating in terms of how you put the gussets in, but I wanted to see if this method would work.


I then made a toile out of calico. I stitched the front together where there will be a busk, and put in about half the bones. Don’t mind the wrinkles, it’s just because one layer of calico isn’t very stiff and there aren’t enough bones. And please excuse the dodgy photography, my arms are only so long.IMG_0586

I then made these alterations to the pattern:

  • I took out 2cm from each side seam at the bust and smoothed out that line
  • I lengthened by 3cm at the hem all around
  • I rearranged the bust gussets to bring them further forward, I also made them a bit smaller
  • I moved one of the bones from the middle of the gussets to the outside
  • I angled the bones toward the centre front at the waist
  • I added another bone to the centre back collection
  • I moved the hip gusset over and made it a bit smaller
  • I added another bone above the hip gusset for a bit more support at the back

Here is my new pattern.IMG_0587Now it’s time to order all my materials and start making!

Uni Sewing Projects and Etsy

So I’ve already done a post about my design projects from my 1st year, now it’s time for some of my sewing projects. Among others we made a timed sample of a ‘man’s period shirt’.1

It is now available from my Etsy shop BelphoebeDesigns, under the name Period Shirt/Smock. Men’s style of shirt remained fairly static through the 16th-19th Centuries. Here are some example of shirts very similar to mine.


1540 and 1750-1800 from the V&A, and early 19th century from the Met

It can also be worn by women for the Tudor/Elizabethan era. Here are two heavily decorated ones. I wouldn’t mind making one with ruffles at the cuffs and collar, and with blackwork too.


Helen Snakenborg, Marchioness of Northampton 1569 and ‘Elizabeth’ Costumes Designed by Alexandra Byrne

I have also made a corset or stays from this period. I attended a class at Morley College while I was doing my Textile Foundation there (taught incidentally by a graduate of the Wimbledon Costume Interpretation degree). It is based on the 16th and 17th century corsets in Period Costume for Stage and Screen: Patterns for Women’s Dress 1500-1800 by Jean Hunnisett. It is also available from Etsy under the name Custom made Tudor/Elizabethan Corset to your measurements and specifications.IMG_0592IMG_0594 IMG_0597Here is one I made in another colour, without tabs, and with a smaller dip at the front.IMG_0243

It is similar in shape to the ‘Dorothea bodies’ from 1598.pfaltzcors

But back to 1st year at Wimbledon. We made a bumroll or roll farthingale. They were worn through the 16th to 19th centuries. It is available under the name Bumroll/Roll Farthingale.2We then made a petticoat to fit over the bumroll. Available under the name Custom 16th to 18th Century Petticoat.IMG_0608 IMG_0609 IMG_0611

It could be worn over any padding, here it is without any. IMG_0600 IMG_0606So there you have it, all my historical sewing projects. We also did some other sewing projects including a hat which I will post about in the near future.

19th Century Corset: Research

In order to make a period correct tailored waistcoat I am going to have to make the pattern using measurements taken whilst wearing a corset. This means making a 19th century corset. I have limited my research to the 1880s and 1890s, as this is the period my waistcoat is from.


1882 and 1883 from ‘Victorian Fashions A Pictoral Archive’ by Carol Belanger Grafton


1884 from ‘Victorian Fashions A Pictoral Archive’ by Carol Belanger Grafton


1886 from ‘Victorian Fashions A Pictoral Archive’ by Carol Belanger Grafton


1891 from ‘Victorian Fashions A Pictoral Archive’ by Carol Belanger Grafton


late 1880s and mid 1890s from ‘Corsets and Crinolines’ by Norah Waugh


1890 from ‘Corsets Historical Patterns and Techniques’ by Jill Salen


1890-1900 from ‘Corsets Historical Patterns and Techniques’ by Jill Salen


1890-1900 from ‘Corsets Historical Patterns and Techniques’ by Jill Salen


1890-1900 from ‘Corsets Historical Patterns and Techniques’ by Jill Salen

I have always admired the last two corsets, so here is my chance to make one. Mine will be white with blue stitching. Let the pattern cutting commence! Check out my Pinterest board on historical underwear for wider research.