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AbstractHistoryArchive Description
Six shipwrecked heroin smugglers find themselves trapped on an oil rig with a genetically modified, shape-shifting great white shark.
Adaptations
-
form
y
Proteus
( dir. Bob Keen
)
United Kingdom (UK)
:
Metrodome Films
Wonderful Films
,
1995
8677020
1995
single work
film/TV
A group of heroin smugglers are trapped on an oil rig with a shape-shifting monster, the result of a scientific experiment.
Notes
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Written by John Brosnan and Leroy Kettle under the joint pseudonym 'Harry Adam Knight', a pseudonym sometimes also used by Brosnan for solo work.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
The Australian Horror Novel Since 1950
2012
single work
criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 112-127) According to James Doig the horror genre 'was overlooked by the popular circulating libraries in Australia.' In this chapter he observes that this 'marginalization of horror reflects both the trepidation felt by the conservative library system towards 'penny dreadfuls,' and the fact that horror had limited popular appeal with the British (and Australian) reading public.' Doig concludes that there is 'no Australian author of horror novels with the same commercial cachet' as authors of fantasy or science fiction. He proposes that if Australian horror fiction wants to compete successfully 'in the long-term it needs to develop a flourishing and vibrant small press contingent prepared to nurture new talent' like the USA and UK small presses.' (Editor's foreword xii)
-
The Australian Horror Novel Since 1950
2012
single work
criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 112-127) According to James Doig the horror genre 'was overlooked by the popular circulating libraries in Australia.' In this chapter he observes that this 'marginalization of horror reflects both the trepidation felt by the conservative library system towards 'penny dreadfuls,' and the fact that horror had limited popular appeal with the British (and Australian) reading public.' Doig concludes that there is 'no Australian author of horror novels with the same commercial cachet' as authors of fantasy or science fiction. He proposes that if Australian horror fiction wants to compete successfully 'in the long-term it needs to develop a flourishing and vibrant small press contingent prepared to nurture new talent' like the USA and UK small presses.' (Editor's foreword xii)
Last amended 25 Jun 2015 12:19:29
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