After murdering his mother and her lover, Patrick, now comatose, is restricted to his hospital bed. But he can still revenge himself for the indignities to which he is subjected--via a telekinetic power that nobody understands but everybody fears. His powers really come into their own, though, when he becomes obsessed with his attractive new nurse, and desperate to keep her to himself.
Patrick
South Melbourne
:
Sun Books
,
1978
Z1107047
1978
single work
novel
A novelisation of Everett de Roche's screenplay.
Patrick
( dir. Mark Hartley
)
Australia
:
F. G. Film Productions
Head Gear Films
Screen Australia
,
2013
Z1907852
2013
single work
film/TV
horror
thriller
'A re-imagining of the classic ‘70s Australian chiller. In room 15 of the secluded Roget Clinic lies a comatose murderer named Patrick. His doctor says he’s nothing more than 75 kilos of limp meat hanging off a dead brain – but Kathy, a young nurse, knows very differently. Patrick has a crush on Kathy, and burgeoning psychic powers. His affection is about to turn into a deadly, bloody obsession!'
Source: Screen Australia. (Sighted: 3/2/2014)
'This article locates a number of 1970s Australian horror films in relation to British and American biomedical horror films featuring characters with disability who are gifted with telekinesis (making them "supercrips") and characters who are in a coma and labeled "vegetables." It employs scholarship by Paul Longmore, Matthew Norden, Angela Smith, Paul Darke, Robert Cettl, Sami Schalk, and others to interrogate how Australian genre film represents disability on-screen. An argument is made that while Ozploitation films like The Cars That Ate Paris (1974) and the first Mad Max film (1979) center on the car and mobility in Australian culture, Richard Franklin's Patrick (1978) draws attention to masculinity, immobility, and disability. Tapping into tropes about "monstrous" disabled others, Franklin creates a memorable disabled protagonist who evokes fear and dread via his telekinetic powers while also drawing attention to the plight of patients who are the victims of medical malpractice. A hyperbolic 2013 remake directed by Mark Hartley also explores the theme of masculinity and mobility and further exploits the Oedipal theme and the cure-or-kill trope. Both the original and the adaptation, this article argues, mine horror stereotypes about disability while also creating a character who is powerful rather than a passive object of pity.' (Publication abstract)
'From a film made in Adelaide for less than $10,000 to gory and haunting classics, here are some flicks that will keep you up at night'
Kennedy Miller has been located in Sydney since the early 1980s, when its reputation as Australia’s most successful production house was established. But its origins and trajectory as a company are intimately tied to Melbourne. Drawing on textual, historical, and archival sources, I argue that Melbourne’s screen culture and industry at the time of the Australian film revival played a fundamental key role in shaping the abilities and sensibilities of the company’s founders, George Miller and Byron Kennedy.
'“Is that about Dorothy or Down Under?”
'That’s the question a friend posted on Facebook in response to my search for horror geeks who would talk to me about the exploitation subgenre Ozploitation. I’ll forgive him for not knowing that the Oz here refers to Australia, not Munchkinland. Ozploitation remains an under-the-radar monster, at least in the United States.' (Introduction)
'“Is that about Dorothy or Down Under?”
'That’s the question a friend posted on Facebook in response to my search for horror geeks who would talk to me about the exploitation subgenre Ozploitation. I’ll forgive him for not knowing that the Oz here refers to Australia, not Munchkinland. Ozploitation remains an under-the-radar monster, at least in the United States.' (Introduction)
Kennedy Miller has been located in Sydney since the early 1980s, when its reputation as Australia’s most successful production house was established. But its origins and trajectory as a company are intimately tied to Melbourne. Drawing on textual, historical, and archival sources, I argue that Melbourne’s screen culture and industry at the time of the Australian film revival played a fundamental key role in shaping the abilities and sensibilities of the company’s founders, George Miller and Byron Kennedy.
