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Kevin Patrick Kevin Patrick i(A141442 works by)
Gender: Male
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Works By

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1 Dreamtime Mutants and Urban Vigilantes : Aboriginal Superheroes in American Comics Kevin Patrick , 2018 single work essay
— Appears in: Senses of Cinema , December no. 89 2018;
1 Comics Kevin Patrick , 2014 single work companion entry
— Appears in: A Companion to the Australian Media : C 2014; (p. 97-99)
1 The Cultural Economy of the Australian Comic Book Industry, 1950-1985 Kevin Patrick , 2012 single work criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 162-181) 'This study seeks to reinstate comic books' place in Australian media history by mapping the cultural economy of Australia's comic book industry and exploring the complex interplay between the competing economic, political and cultural forces that shaped the industry during its years of peak production between 1950-1985. Adopting a holistic approach that considers all facets of comic book production, dissemination and consumption, this study will consider the comic book industry's place within David Carter's (1998) framework of an Australian 'magazine culture...' (162)
1 In Search of the Great Australian (Graphic) Novel Kevin Patrick , 2012 single work criticism
— Appears in: Australasian Journal of Popular Culture , 16 February vol. 1 no. 1 2012; (p. 51-66) 'The critical acclaim enjoyed by such recent Australian graphic novels as Shaun Tan's The Arrival (2006) and Nicki Greenberg's adaptation of The Great Gatsby (2007) suggested that Australia had finally 'caught up' with the United States and Britain, by embracing the graphic novel as a legitimate creative medium, on a par with literature and cinema. The media interest generated by a succession of Australian graphic novels during recent years often implied that their very existence was a relatively new phenomenon. Accepting this premise without question, however, overlooks the evolution of the graphic novel in Australia, early examples of which - such as Syd Nicholls' Middy Malone: A Book Pirates (1941) - date back to the 1940s. Documenting how historical changes in the production and dissemination of graphic novels in Australia have influenced their critical and popular reception therefore creates new opportunities to explore a largely overlooked facet of Australian print culture. Furthermore, the study of the graphic novel in an exclusively Australian context provides a new perspective for re-examining the origins, definitions and, indeed, the limitations of the term 'graphic novel', and extends the parameters of the academic literature devoted to the medium beyond the traditionally dominant Anglo-American focus.' (Author's abstract)
1 1 A Design for Depravity: Horror Comics and the Challenge of Censorship in Australia, 1950-1986 Kevin Patrick , 2011 single work criticism
— Appears in: Script and Print , September vol. 35 no. 3 2011; (p. 135-156) On the night of Friday 24 September 1954, hundreds of children, armed with rocks and sticks, swarmed between the headstones of a Glasgow cemetery in search of a monster with iron teeth, which had strangled and devoured two little boys - a creature that came to be known as the 'Gorbals Vampire.' There was, of course, no such monster. But once the police had rounded up the children and sent them home, there was little doubt amongst authorities about what ignited such a panic. Michael Scanlan, Glasgow's City Education Officer, singled out American horror comic books as the culprit. 'It is up to the government to ban these comics,' he said. 'We cannot do anything about it, but obviously they caused the scare' (author's abstract).
1 The Forgotten Few : The Portrayal of Aerial Combat in Australian Fiction Kevin Patrick , 2010 single work criticism
— Appears in: War, Literature, and the Arts: An International Journal of the Humanities , January vol. 22 no. 2010; (p. 216-230) 'Throughout the 1950s and 1960s, there appeared a comparatively new genre of Australian war novel which sought to give readers some insight about the unique dangers of aerial combat and the intense pressures faced by Australian aircrews that fought in World War II and the Korean War. Yet few, if any, of these novels have ever been admitted into the canon of great Australian war literature.

A key reason for such exclusion, it will be argued, was that the mechanised nature of air warfare, coupled with the class-conscious hierarchy of the air force itself, placed these novels in direct opposition to the enduring appeal of the ANZAC 'legend', which was underpinned by the image of the egalitarian Australian soldier—the archetypal 'digger'.

Another equally telling reason for their diminished artistic status is that many of these novels emanated from the ranks of 'popular' paperbacks, which were routinely shunned by contemporary critics and remain almost continually overlooked by present-day scholars.

However, as this article will demonstrate, such critical disdain fails to acknowledge how systemic changes to Australia's post-war publishing landscape made it possible for a new generation of Australian war novelist, such as William R. Bennett, to reach a truly mass audience, for whom tales of aerial combat were not so much a celebration of an outmoded martial ideal of the Australian soldier, but an exciting harbinger of the technological age in which they lived.' (p. 216)
1 1 y separately published work icon Pulp Fiction : The Australian Pulp Fiction Industry Toni Johnson-Woods (lead researcher), Kevin Patrick (researcher), Michelle Dicinoski (researcher), 2008 St Lucia : AustLit: The Australian Literature Resource , Z1797848 2008 website bibliography biography This collection includes biographical details on more than 100 authors and cover artists and bibliographic detail and cover art from 2,000 titles and their translations.
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