bubby

(redirected from Bad Boy Bubby)
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bub·by

 (bo͝ob′ē, bo͞ob′ē)
n. pl. bub·bies Slang
A woman's breast.

[Origin unknown.]

bubby

(ˈbʌbɪ)
n, pl -bies
slang a woman's breast
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References in periodicals archive ?
Bad Boy Bubby has been called everything form an uplifting work of genius to a horrible exploitation film.
But I walked out of a film festival - when they screened the 1993 Australian film Bad Boy Bubby in which they mistreated a cat.
Who else has offered so disturbing a scenario as Bad Boy Bubby (1993), in which a thirty-year-old man is, after years of captivity, at last unleashed on a non-comprehending world?
It's an Australian one called Bad Boy Bubby, and it's a bit of a strange movie.
Ferrier argues that a set of Australian films of this period--including Proof (Jocelyn Moorhouse, 1991), Strictly Ballroom (Baz Luhrmann, 1992), Bad Boy Bubby (Rolf de Heer, 1993), The Adventures of Priscilla, Queen of the Desert (Stephen Elliot, 1994), Muriel's Wedding (P.
Rochelle Siemienowicz lists a cluster of recent Australian features, from Bad Boy Bubby (Rolf de Heer, 1994) to The Sound of One Hand Clapping (Richard Flanagan, 1998), that 'draw portraits of homelessness and dislocation.
In Bad Boy Bubby (1993) Nicholas Hope (who plays Bubby) wore a wig with miniature microphones and transmitters so that all sound was captured from the perspective of the central character.
Anna Hickey-Moody and Melissa Iocco tackle what is arguably a unique approach to sound design in Rolf de Heer's cult feature film Bad Boy Bubby (1993).
This article posits the notion of 'auratorship' as offering a useful way of discussing the explicit positioning of the spectator in relation to Rolf de Heer's 1993 film Bad Boy Bubby.
Our conversation ranged widely over topics such as 'popcorn movies'; working with actors; the thriller genre; questions of fairness in failed relationships; and the shift in de Heer's own perspective in the ten years between Bad Boy Bubby (1993) and Alexandra's Project.
Of course this is a Rolf de Heer film: one expects the director of Bad Boy Bubby (1993) to have a more sophisticated viewpoint on the beauties and grotesquerie of sexuality.
McInnes, 1994) and Bad Boy Bubby (de Heer, 1994) are indicative of