Deb Verhoeven | University of Alberta (original) (raw)
Books by Deb Verhoeven
Jane Campion is one of the most celebrated auteurs of modern cinema and was the first female dire... more Jane Campion is one of the most celebrated auteurs of modern cinema and was the first female director to be awarded the prestigious Palme d'Or. Throughout her relatively short career, Campion has received extraordinary attention from the media and scholars alike and has provoked fierce debates on issues such as feminism; colonialism; and nationalism. In the first detailed account of Jane Campion's career as a filmaker, Deb Verhoeven examines specifically how contemporary film directors fashion themselves as auteurs - through their personal interactions with the media, in their choice of projects, in their emphasis on particular filmmaking techniques and finally in the promotion of their films Through analysis of key scenes from Campion's films, such as The Piano; in the Cut; Sweetie; An Angel at My Table; and Holy Smoke, Deb Verhoeven introduces students to the key debates surrounding this controversial and often experimental director. Featuring a career overview, a filmography, scene by scene analysis and an extended interview with Campion on her approach to creativity, this is a great introduction to one of the most important directors of contemporary cinema.
In this highly readable study of Australian cinema, Deb Verhoeven explores the relationship betwe... more In this highly readable study of Australian cinema, Deb Verhoeven explores the relationship between a series of films produced in different periods of Australian history that are linked by a common thread:the repeated image of sheep.
The book focuses on two key 'sheep films': The Squatter's Daughter (Hall, 1933) and Bitter Springs (Smart, 1950). Both movies are concerned with the national project, in which sheep growing and nation building are seamlessly aligned. But Verhoeven artfully demonstrates that it is precisely in their emphasis on textual re-iteration and repetition that the sheep films critique an otherwise ostensibly 'national' vision.
In the process Verhoeven sheds new light on the importance and implication of discourses of originality in the Australian cinema.
Edited collection of essays: Me cobber, Ginger Mick / William D. Routt Distance looks our way / L... more Edited collection of essays:
Me cobber, Ginger Mick / William D. Routt
Distance looks our way / Laurence Simmons
When familiarity breeds / Deb Verhoeven
The years of living dangerously / Michael Walsh
Is there an Australian inflection of Orientalism? / David Hanan
Bringing the ancestors home / Felicity Collins
"Suck on that, mate!" / Alan McKee
New Zealand cinema / Roger Horrocks
Reluctant admiration / Franz Kuna and Petra Strohmaier
Ecstacies in the mossy land / Stan Jones
Don't rain on Ava Gardner Parade / Adrian Danks
A tale of two cities : Dark city and Babe : pig in the city / Tom O'Regan and Rama Venkatasawmy.
Chapters by Deb Verhoeven
La médiatisation de l’évaluation/Evaluation in the Media, 2015
Directory of World Cinema: Australia and New Zealand 2, 2015
Beyond the Bottom-Line: The Producer in Film and Television Studies (eds) Andrew Spicer, Anthony McKenna and Christopher Meir, 2014
The role of the screen producer is ramifying. Not only are there numerous producer categories, bu... more The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practising their craft in a field that has already been transformed by digitization and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nationwide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/2009 and 2011.2 We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognize the persistence of established production cultures that serve to distinguish different industry sectors.
’ in Crowdfunding the Future: Media Industries, Ethics and Digital Society (eds) Bertha Jones, Bethan Chin and Lucy Bennett, Peter Lang Publishers, pp. 133-156, May 2015
In December 2012 Pozible.com (the world’s third largest crowdfunding platform) and Deakin Univers... more In December 2012 Pozible.com (the world’s third largest crowdfunding platform) and Deakin University agreed to create an opportunity for the community funding of university research enterprises. ‘Research My World’ launched to the public in April 2013 with eight projects spanning a range of discipline areas and project types.
Several different models for crowdfunding research such as Microryza, RocketHub and GeekFunder have recently emerged. Deakin's partnership with Pozible was explicitly intended to boost the long tail research community, in particular to provide a funding avenue for early career researchers and/or for projects requiring only modest investment. Project size ranged between 5,000and5,000 and 5,000and20,000 and the participants were fully supported by the University’s marketing, public relations and social media divisions. Participants were however expected to manage their campaigns on their own terms and using their own networks and communities of interest.
Research My World intended to:
● Provide a unique opportunity to promote research in terms of its meaning to communities and not just other academics (‘to bring research home’). Successful funding campaigns relied on clear communication of projects and high levels of social as well as traditionalmedia engagement.
● Shift the way universities promote research in an increasingly networked environment
● Provide an additional funding stream for researchers, particularly those at the start of their career
● Focus effort on communicating with the public rather than labour-intensive, highly competitive, blind reviewed funding applications with diminishing success rates
● Provide ‘discipline-neutral’ opportunity; both science and humanities-creative arts were able togenerate funds if community relevance was demonstrated
More broadly Research My World saw benefit in:
● Disintermediation of research funding
● Reduction of “compliance burden” for researchers (and universities)
● Digital “presence building” for the researchers and their work including capacity building in digital culture/skills for the researchers
This paper will provide an evaluation of Research My World using a combination of detailed data analytics, public feedback, media coverage and participant interviews. Explanations for both success and failure will be considered. Particular challenges will be identified including;
● the ‘digital capacity’ of individual academics
● the ‘digital capacity’ of academic institutions
● the difference between existing campaigns for crowdfunding and those specific to a projects with ‘research’ focus
● the public’s response to projects from different research disciplines
Advancing Digital Humanities: Research, Methods, Theory, 2014
This chapter is concerned with questions of inclusion and participation in the scholarly use of t... more This chapter is concerned with questions of inclusion and participation in the scholarly use of technologies, with the changing alignments of agency and the nonhuman made possible in contemporary research practices. In particular it explores the use of databases in academic research and their consequences for the configuration and character of recent humanities and creative arts scholarship. What positions might databases assume in the production of knowledge? How have changes to the nature of data itself also changed databases and their roles? How do debates about databases implicate the practices of digital humanities and creative arts scholars? This chapter explores these questions in detail through two case studies that exemplify some of the ways in which digital research technologies might bear on the practices of contemporary research scholarship—and vice versa.
This chapter explores the possible ontological questions and epistemological propositions that ar... more This chapter explores the possible ontological questions and epistemological propositions that arise from detailed empirical research into cinema closures. Repeated pronouncements of the ‘Death of Cinema’ in the wake of technological, social and industrial change serve to reinforce the coincidence of ‘death’ with a type of ‘closure’. The evocation of a ‘crisis’ in the cinema is ordinarily articulated within the terms of specific cultural concerns around transience and transformation in the social experience of the cinema. However, rather than adding another chapter to the apocalyptic historiography of the cinema this paper proposes instead the constitutive importance of ‘closure’ as a critical tool for rethinking our defining assumptions about cinema(s). Specifically, the chapter will demonstrate how the conceptual granularity entailed in the development of a detailed database of venue openings and closings (the Cinema and Audiences in Australia Project database) can in turn lead to a fundamental reconsideration of the ontology of the cinema itself.
The rise of the Greek film industry during the 1950s and 1960s was enjoyed not just in Greece but... more The rise of the Greek film industry during the 1950s and 1960s was enjoyed not just in Greece but internationally throughout the Greek diaspora. This was especially apparent in Australia, where waves of post-war migration provided a ready audience for imported Greek cinema. This paper will examine the relationship between domestic and diasporic film industries focussing on the distribution arrangements between Greek suppliers and Australian distributors.
In the early 1960s the Victorian town of Myrtleford could boast of a ‘theatre precinct’ in Myrtle... more In the early 1960s the Victorian town of Myrtleford could boast of a ‘theatre precinct’ in Myrtle Street: two venues served as cinemas, both presenting weekly programs that included films of all kinds screened in Italian—parlato in italiano. In the same street, the Golden Valley Café perhaps more famously gave the precinct a memorably cosmopolitan atmosphere, especially on movie nights.
Parlato in Italiano is a tribute to the cinema as a meeting place of particular significance in the cultural landscape and memory of a regional area—most vividly during the postwar years before television ownership became the norm. Research, reflections and images evoke the vigour and resourcefulness of Italian immigrants who settled in the Myrtleford area in those years, acknowledging the importance of hearing the Italian language spoken ‘on the big screen’.
Above all Parlato in Italiano points out the many ways in which the shared experience—the romance, no less—of going to the movies helped to foster social integration and an enduring sense of belonging within and far beyond the Italian communities of Myrtleford and the Ovens Valley region.
"Myrtleford at that stage was really vibrant, like a small city. You could walk around the town all night and see people. You’d go off to the film and there was always something to do afterwards." (Guido Follador)
"At the movies in Myrtleford, spoken in Italian, I heard what was to be my third language"
(Clara Sacco)
"It wasn’t just Italians who went to the Italian screenings" (Nino Mautone
A Century of Australian Cinema. William Heinemann, …, Jan 1, 1995
Verhoeven, Deb 1995, The film I would like to make : in search of a cinema (1927-1970), in A cent... more Verhoeven, Deb 1995, The film I would like to make : in search of a cinema (1927-1970), in A century of Australian cinema, Mandarin, Melbourne, Vic., pp.130-153. ... Unless expressly stated otherwise, the copyright for items in Deakin Research Online is owned by the author, with ...
Boys and balls, Jan 1, 1994
Deakin home > Deakin University Library > Deakin Research Online &g... more Deakin home > Deakin University Library > Deakin Research Online > Deb Verhoeven : Melbourne film critic, academic, footy fan. Deb Verhoeven : Melbourne film critic, academic, footy fan. ... Title of chapter, Deb Verhoeven : Melbourne film critic, academic, footy fan. ...
Moving Targets: Women, Murder and Representation, …, Jan 1, 1993
in Helen Birch (ed) Moving Targets, London: Virago, 1993, pp. 95-126. Republished, University of ... more in Helen Birch (ed) Moving Targets, London: Virago, 1993, pp. 95-126. Republished, University of California Press, 1994.
The Media and Communications in Australia, 3rd ed., …, Jan 1, 2010
... But there are early signs that things are beginning to change. DEB VERHOEVEN Page 263. 218 It... more ... But there are early signs that things are beginning to change. DEB VERHOEVEN Page 263. 218 It's not that our interest in the movies is shrink-ing. ... Wages in the industry inflated rapidly as film productions tied themselves to the financial year and competed for cast and crew. ...
Twin Peeks: Australian and New Zealand Feature …, Jan 1, 1999
... Socio Economic Objective, 950503 Understanding Australia's Past. Title of chapter, W... more ... Socio Economic Objective, 950503 Understanding Australia's Past. Title of chapter, When familiarity breeds. Author(s), Verhoeven, Deb. Title of book, Twin peeks : Australian and New Zealand feature films. Editor(s), Verhoeven, Deb. Date, 1999. ...
World Film Locations: Melbourne, Sep 2012
Jane Campion is one of the most celebrated auteurs of modern cinema and was the first female dire... more Jane Campion is one of the most celebrated auteurs of modern cinema and was the first female director to be awarded the prestigious Palme d'Or. Throughout her relatively short career, Campion has received extraordinary attention from the media and scholars alike and has provoked fierce debates on issues such as feminism; colonialism; and nationalism. In the first detailed account of Jane Campion's career as a filmaker, Deb Verhoeven examines specifically how contemporary film directors fashion themselves as auteurs - through their personal interactions with the media, in their choice of projects, in their emphasis on particular filmmaking techniques and finally in the promotion of their films Through analysis of key scenes from Campion's films, such as The Piano; in the Cut; Sweetie; An Angel at My Table; and Holy Smoke, Deb Verhoeven introduces students to the key debates surrounding this controversial and often experimental director. Featuring a career overview, a filmography, scene by scene analysis and an extended interview with Campion on her approach to creativity, this is a great introduction to one of the most important directors of contemporary cinema.
In this highly readable study of Australian cinema, Deb Verhoeven explores the relationship betwe... more In this highly readable study of Australian cinema, Deb Verhoeven explores the relationship between a series of films produced in different periods of Australian history that are linked by a common thread:the repeated image of sheep.
The book focuses on two key 'sheep films': The Squatter's Daughter (Hall, 1933) and Bitter Springs (Smart, 1950). Both movies are concerned with the national project, in which sheep growing and nation building are seamlessly aligned. But Verhoeven artfully demonstrates that it is precisely in their emphasis on textual re-iteration and repetition that the sheep films critique an otherwise ostensibly 'national' vision.
In the process Verhoeven sheds new light on the importance and implication of discourses of originality in the Australian cinema.
Edited collection of essays: Me cobber, Ginger Mick / William D. Routt Distance looks our way / L... more Edited collection of essays:
Me cobber, Ginger Mick / William D. Routt
Distance looks our way / Laurence Simmons
When familiarity breeds / Deb Verhoeven
The years of living dangerously / Michael Walsh
Is there an Australian inflection of Orientalism? / David Hanan
Bringing the ancestors home / Felicity Collins
"Suck on that, mate!" / Alan McKee
New Zealand cinema / Roger Horrocks
Reluctant admiration / Franz Kuna and Petra Strohmaier
Ecstacies in the mossy land / Stan Jones
Don't rain on Ava Gardner Parade / Adrian Danks
A tale of two cities : Dark city and Babe : pig in the city / Tom O'Regan and Rama Venkatasawmy.
La médiatisation de l’évaluation/Evaluation in the Media, 2015
Directory of World Cinema: Australia and New Zealand 2, 2015
Beyond the Bottom-Line: The Producer in Film and Television Studies (eds) Andrew Spicer, Anthony McKenna and Christopher Meir, 2014
The role of the screen producer is ramifying. Not only are there numerous producer categories, bu... more The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practising their craft in a field that has already been transformed by digitization and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nationwide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/2009 and 2011.2 We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognize the persistence of established production cultures that serve to distinguish different industry sectors.
’ in Crowdfunding the Future: Media Industries, Ethics and Digital Society (eds) Bertha Jones, Bethan Chin and Lucy Bennett, Peter Lang Publishers, pp. 133-156, May 2015
In December 2012 Pozible.com (the world’s third largest crowdfunding platform) and Deakin Univers... more In December 2012 Pozible.com (the world’s third largest crowdfunding platform) and Deakin University agreed to create an opportunity for the community funding of university research enterprises. ‘Research My World’ launched to the public in April 2013 with eight projects spanning a range of discipline areas and project types.
Several different models for crowdfunding research such as Microryza, RocketHub and GeekFunder have recently emerged. Deakin's partnership with Pozible was explicitly intended to boost the long tail research community, in particular to provide a funding avenue for early career researchers and/or for projects requiring only modest investment. Project size ranged between 5,000and5,000 and 5,000and20,000 and the participants were fully supported by the University’s marketing, public relations and social media divisions. Participants were however expected to manage their campaigns on their own terms and using their own networks and communities of interest.
Research My World intended to:
● Provide a unique opportunity to promote research in terms of its meaning to communities and not just other academics (‘to bring research home’). Successful funding campaigns relied on clear communication of projects and high levels of social as well as traditionalmedia engagement.
● Shift the way universities promote research in an increasingly networked environment
● Provide an additional funding stream for researchers, particularly those at the start of their career
● Focus effort on communicating with the public rather than labour-intensive, highly competitive, blind reviewed funding applications with diminishing success rates
● Provide ‘discipline-neutral’ opportunity; both science and humanities-creative arts were able togenerate funds if community relevance was demonstrated
More broadly Research My World saw benefit in:
● Disintermediation of research funding
● Reduction of “compliance burden” for researchers (and universities)
● Digital “presence building” for the researchers and their work including capacity building in digital culture/skills for the researchers
This paper will provide an evaluation of Research My World using a combination of detailed data analytics, public feedback, media coverage and participant interviews. Explanations for both success and failure will be considered. Particular challenges will be identified including;
● the ‘digital capacity’ of individual academics
● the ‘digital capacity’ of academic institutions
● the difference between existing campaigns for crowdfunding and those specific to a projects with ‘research’ focus
● the public’s response to projects from different research disciplines
Advancing Digital Humanities: Research, Methods, Theory, 2014
This chapter is concerned with questions of inclusion and participation in the scholarly use of t... more This chapter is concerned with questions of inclusion and participation in the scholarly use of technologies, with the changing alignments of agency and the nonhuman made possible in contemporary research practices. In particular it explores the use of databases in academic research and their consequences for the configuration and character of recent humanities and creative arts scholarship. What positions might databases assume in the production of knowledge? How have changes to the nature of data itself also changed databases and their roles? How do debates about databases implicate the practices of digital humanities and creative arts scholars? This chapter explores these questions in detail through two case studies that exemplify some of the ways in which digital research technologies might bear on the practices of contemporary research scholarship—and vice versa.
This chapter explores the possible ontological questions and epistemological propositions that ar... more This chapter explores the possible ontological questions and epistemological propositions that arise from detailed empirical research into cinema closures. Repeated pronouncements of the ‘Death of Cinema’ in the wake of technological, social and industrial change serve to reinforce the coincidence of ‘death’ with a type of ‘closure’. The evocation of a ‘crisis’ in the cinema is ordinarily articulated within the terms of specific cultural concerns around transience and transformation in the social experience of the cinema. However, rather than adding another chapter to the apocalyptic historiography of the cinema this paper proposes instead the constitutive importance of ‘closure’ as a critical tool for rethinking our defining assumptions about cinema(s). Specifically, the chapter will demonstrate how the conceptual granularity entailed in the development of a detailed database of venue openings and closings (the Cinema and Audiences in Australia Project database) can in turn lead to a fundamental reconsideration of the ontology of the cinema itself.
The rise of the Greek film industry during the 1950s and 1960s was enjoyed not just in Greece but... more The rise of the Greek film industry during the 1950s and 1960s was enjoyed not just in Greece but internationally throughout the Greek diaspora. This was especially apparent in Australia, where waves of post-war migration provided a ready audience for imported Greek cinema. This paper will examine the relationship between domestic and diasporic film industries focussing on the distribution arrangements between Greek suppliers and Australian distributors.
In the early 1960s the Victorian town of Myrtleford could boast of a ‘theatre precinct’ in Myrtle... more In the early 1960s the Victorian town of Myrtleford could boast of a ‘theatre precinct’ in Myrtle Street: two venues served as cinemas, both presenting weekly programs that included films of all kinds screened in Italian—parlato in italiano. In the same street, the Golden Valley Café perhaps more famously gave the precinct a memorably cosmopolitan atmosphere, especially on movie nights.
Parlato in Italiano is a tribute to the cinema as a meeting place of particular significance in the cultural landscape and memory of a regional area—most vividly during the postwar years before television ownership became the norm. Research, reflections and images evoke the vigour and resourcefulness of Italian immigrants who settled in the Myrtleford area in those years, acknowledging the importance of hearing the Italian language spoken ‘on the big screen’.
Above all Parlato in Italiano points out the many ways in which the shared experience—the romance, no less—of going to the movies helped to foster social integration and an enduring sense of belonging within and far beyond the Italian communities of Myrtleford and the Ovens Valley region.
"Myrtleford at that stage was really vibrant, like a small city. You could walk around the town all night and see people. You’d go off to the film and there was always something to do afterwards." (Guido Follador)
"At the movies in Myrtleford, spoken in Italian, I heard what was to be my third language"
(Clara Sacco)
"It wasn’t just Italians who went to the Italian screenings" (Nino Mautone
A Century of Australian Cinema. William Heinemann, …, Jan 1, 1995
Verhoeven, Deb 1995, The film I would like to make : in search of a cinema (1927-1970), in A cent... more Verhoeven, Deb 1995, The film I would like to make : in search of a cinema (1927-1970), in A century of Australian cinema, Mandarin, Melbourne, Vic., pp.130-153. ... Unless expressly stated otherwise, the copyright for items in Deakin Research Online is owned by the author, with ...
Boys and balls, Jan 1, 1994
Deakin home > Deakin University Library > Deakin Research Online &g... more Deakin home > Deakin University Library > Deakin Research Online > Deb Verhoeven : Melbourne film critic, academic, footy fan. Deb Verhoeven : Melbourne film critic, academic, footy fan. ... Title of chapter, Deb Verhoeven : Melbourne film critic, academic, footy fan. ...
Moving Targets: Women, Murder and Representation, …, Jan 1, 1993
in Helen Birch (ed) Moving Targets, London: Virago, 1993, pp. 95-126. Republished, University of ... more in Helen Birch (ed) Moving Targets, London: Virago, 1993, pp. 95-126. Republished, University of California Press, 1994.
The Media and Communications in Australia, 3rd ed., …, Jan 1, 2010
... But there are early signs that things are beginning to change. DEB VERHOEVEN Page 263. 218 It... more ... But there are early signs that things are beginning to change. DEB VERHOEVEN Page 263. 218 It's not that our interest in the movies is shrink-ing. ... Wages in the industry inflated rapidly as film productions tied themselves to the financial year and competed for cast and crew. ...
Twin Peeks: Australian and New Zealand Feature …, Jan 1, 1999
... Socio Economic Objective, 950503 Understanding Australia's Past. Title of chapter, W... more ... Socio Economic Objective, 950503 Understanding Australia's Past. Title of chapter, When familiarity breeds. Author(s), Verhoeven, Deb. Title of book, Twin peeks : Australian and New Zealand feature films. Editor(s), Verhoeven, Deb. Date, 1999. ...
World Film Locations: Melbourne, Sep 2012
The conversation, 2014
The backlash against “big data” studies is well underway. And no more so than in the area of huma... more The backlash against “big data” studies is well underway. And no more so than in the area of humanities and creative arts research.
For the past three years a team of researchers have been working on ways to help people navigate ... more For the past three years a team of researchers have been working on ways to help people navigate a path through the expanding world of online information. The result is the Humanities Networked Infrastructure (HuNI) platform: huni.net.au
Feminist Media Histories, 2016
This essay explores the ways in which new developments in digital research infrastructure change ... more This essay explores the ways in which new developments in digital research infrastructure change our expectations of archival research and offer opportunities for a newly energized feminist approach to the archive. A specific platform, the Humanities Networked Infrastructure, is explored as an example of how digital technologies enable the coproduction of the archive and at the same time extend the possibilities for serendipitous discovery.
Work Never Done Australia S Women Filmworkers from the 1930 S to 1970s, 2000
Advancing Digital Humanities Research Methods Theories, 2014
This chapter is concerned with questions of inclusion and participation in the scholarly use of t... more This chapter is concerned with questions of inclusion and participation in the scholarly use of technologies, with the changing alignments of agency and the nonhuman made possible in contemporary research practices. In particular it explores the use of databases in academic research and their consequences for the configuration and character of recent humanities and creative arts scholarship. What positions might databases assume in the production of knowledge? How have changes to the nature of data itself also changed databases and their roles? How do debates about databases implicate the practices of digital humanities and creative arts scholars? This chapter explores these questions in detail through two case studies that exemplify some of the ways in which digital research technologies might bear on the practices of contemporary research scholarship—and vice versa.
Oxford Companion to Australian Film, 1999
... Jan. 19, 2000) reprinted by permission of Judith Lewis. Interview by Lizzie Francke originall... more ... Jan. 19, 2000) reprinted by permission of Judith Lewis. Interview by Lizzie Francke originally published in Sight and Sound (“Dangerous Liaisons,” 13.11: 16–19), reprinted by permission of Lizzie Francke and Sight and Sound. ...
WCCA 2012:“Beyond Art, Beyond Humanities, …, 2012
This paper outlines how the digitisation of both the film industry and contemporary research prac... more This paper outlines how the digitisation of both the film industry and contemporary research practices bear on the work of the new cinema historian. How might the opportunities presented by an unprecedented proliferation of data for example, also challenge the ...
Journal of Australian Studies, 2009
This article explores the role that urban place and specifically urban comparison play in the pub... more This article explores the role that urban place and specifically urban comparison play in the public performances of both the comedian Barry Humphries and the character Edna Everage. In developing Claire Colebrook's analysis of satire as a form of humour that is physically and historically ...
Metro, 1992
Andrew is not playing Gaveston in a way that will endear me to 'Gay Times', only Edward c... more Andrew is not playing Gaveston in a way that will endear me to 'Gay Times', only Edward comes out of this well and even he has bloody hands.
MELBOURNE UNIVERSITY PRESS An imprint of Melbourne University Publishing Ltd 187 Grattan Street, ... more MELBOURNE UNIVERSITY PRESS An imprint of Melbourne University Publishing Ltd 187 Grattan Street, Carlton, Victoria 3053, Australia mup-info@unimelb.edu.au www.mup.com.au First published 2006 Text Deb Verhoeven 2006 Design and typography Melbourne University ...
Applied Network Science
Conventional approaches to improving the representation of women on the boards of major companies... more Conventional approaches to improving the representation of women on the boards of major companies typically focus on increasing the number of women appointed to these positions. We show that this strategy alone does not improve gender equity. Instead of relying on aggregate statistics (“headcounts”) to evaluate women’s inclusion, we use network analysis to identify and examine two types of influence in corporate board networks: local influence measured by degree centrality and global influence measured by betweenness centrality and k-core centrality. Comparing board membership data from Australia’s largest 200 listed companies in the ASX200 index in 2015 and 2018 respectively, we demonstrate that despite an increase in the number of women holding board seats during this time, their agency in terms of these network measures remains substantively unchanged. We argue that network analysis offers more nuanced approaches to measuring women’s inclusion in organizational networks and will ...
Alphaville: Journal of Film and Screen Media, Aug 17, 2016
This paper analyzes the continued propensity of men to cite other men, and more importantly, to N... more This paper analyzes the continued propensity of men to cite other men, and more importantly, to NOT cite the work of women, in Communication Studies. After documenting the continued and troubling persistence of the erasure of women's scholarship, the paper argues for intervening at the points at which the field reproduces itself.
This paper analyzes the continued propensity of men to cite other men, and more importantly, to N... more This paper analyzes the continued propensity of men to cite other men, and more importantly, to NOT cite the work of women, in Communication Studies. After documenting the continued and troubling persistence of the erasure of women's scholarship, the paper argues for intervening at the points at which the field reproduces itself.
Global Digital Humanities 2019: "Complexities”, 2019
This panel considers how Cinema Studies and Digital Humanities can inform each other through exam... more This panel considers how Cinema Studies and Digital Humanities can inform each other through examining the different ways that film distribution analysis extends aspects of critical infrastructure studies.
Conference of European Network for Cinema and Media Studies (NECS) “Structures and Voices: Storytelling in Post-Digital Times”, 2019
The #metoo movement has recently revived the long-lasting debate about the gender composition of ... more The #metoo movement has recently revived the long-lasting debate about the gender composition of film industries which touches upon the on-screen portrayal of genders (Kapoor, Bhuptani, & Agneswaran, 2017; Lindner, Lindquist, & Arnold, 2015; Smith, Choueiti, Pieper, Case, & Choi, 2018) as well as the effects of gender on participation in creative teams (European Women’s Audiovisual Network, 2013; Follows, Kreager, & Gomes, 2016; Prommer & Loist, 2015). However, the industry’s gender disparities that extend beyond the media product or the circumstances of its creation remain understudied. This paper shifts attention to the transnational infrastructure of cinema at the levels of distribution and exhibition to discuss the impact that the director’s gender has on the theatrical availability of new release feature films across Europe. Our discussion is informed by a large dataset of almost 32 million theatrical film screenings held across a set of 17 European countries including France, Germany, United Kingdom, Italy, and Spain between December 2012 and May 2015. We apply quantitative techniques, such as exploratory data analysis, data visualisation, and geospatial hot spot analysis, to this “big data” collection drawn from the Kinomatics Project (Kinomatics, n.d.) to unveil differences in audience access to films directed by women across the region. Our results show that the industry’s gender gap observed at the production level is amplified through the distribution and exhibition sectors as the share of theatrical screenings dedicated to women’s films is much smaller than the share of women’s films released in each studied country. We also observe differences in the ease of theatrical access to women’s films across Europe with certain trends extending beyond country boarders.
Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ) Conference “Sea Change: Transforming Industries, Screens, Texts”, 2016
Screenwriter William Goldman famously noted, “nobody knows anything…” (p. 39, 1983) when it comes... more Screenwriter William Goldman famously noted, “nobody knows anything…” (p. 39, 1983) when it comes to motion picture industry. And yes, it is extremely difficult to predict a movie’s performance in the home market, let alone its success abroad. However, as the film trade relationship between the US and Australia goes, distributors have historically followed a “10% rule” to anticipate the popularity of Hollywood titles in Australia. American films were typically expected to earn one-tenth of their domestic box office receipts when screened downunder. Nonetheless, as prevalent as this “rule” has been in the industry, it has not been seriously tested to date, and this paper addresses this gap in both scholarship and industry practices. This paper examines the relationship between Australian and the US screen industries by measuring the popularity of American films among Australian audiences as expressed in box office revenues. Moreover, it proposes an alternative measure of film performance as expressed in the volume of coverage and also tests whether the industry’s “law of ten percent” holds for the counts of film screenings. Finally, it investigates whether the “10% rule” holds for different genres and ratings. To answer the proposed questions this paper relies on big data of global film screenings from the Kinomatics Project in conjunction with box office data from International Box Office Essentials complied by Rentrak. It focuses on American films released in 2013 that screened in Australia in 2013-2015. This paper applies a transdisciplinary Digital Humanities approach to studying media industries at an international scale contributing to the field of Cinema Studies.
References
Goldman, W. (1983). Adventures in the Screen Trade: Grand Central Publishing.
With a film career spanning over 40 years locally and internationally, award-winning Australian f... more With a film career spanning over 40 years locally and internationally, award-winning Australian film and documentary director Gillian Armstrong discusses her career and shares her top five favourite films of all time.
From the mind-boggling visuals of Orlando to the expert costume design of Baby Face, these video excerpts focus on her favourite films. The podcast captures the full evening with Gillian Armstrong.
- An insight into eight crowdfunded research projects using the Pozible platform - Engaging the ... more - An insight into eight crowdfunded research projects using the Pozible platform
- Engaging the community and offering them an opportunity to contribute toward a relatable research cause
- Overview of the institutional support behind this project
- Crystal balling the potential possibilities for crowdfunding to become an additional source of income for large scale research
This presentation will outline how the digitisation of both the creative industries and contempor... more This presentation will outline how the digitisation of both the creative industries and contemporary eResearch practices bear on each other. How might the opportunities presented by an unprecedented proliferation of data enable innovative methods for studying and understanding the creative industries and creative labour, and conversely, how might we simultaneously understand the work of eResearch itself as increasingly ‘creative’. Taking the music industry as a case study, this presentation will explore how data about historical live music gigs in Melbourne can be analysed, extended and re-presented to create new insights. Using a unique process called ‘songification’ we will demonstrate how enhanced auditory data design can provide a medium for aural intuition.
The case study illustrates the benefits of an expanded and inclusive view of eResearch, in which computation and communication, method and media, in combination enable us to explore the larger question of how we can employ technologies to produce, represent, analyze, deliver and exchange knowledge. It suggests this exchange in the broadest sense – beyond the domestic diversions of inter-disciplinarity. The key issue confronting eResearch is not the differences between academics but the perceived difference between academics as a whole and the community. This case study is a timely reflection on how our practices can lend weight to these perceptions and how an expanded and inclusive eResearch effort might redress them.
Presentation at the Australasian Consortium of Humanities Research Centres (ACHRC), July 2013. Pa... more Presentation at the Australasian Consortium of Humanities Research Centres (ACHRC), July 2013. Panel description:
The Digital Humanities offers not only new tools to support what we do in the Humanities, but also new ways of thinking about what it is that we do. This panel will build upon Alan Liu’s keynote discussion of ideas for digital tools for humanities advocacy and speak to the way non-digital centres can benefit from digital humanities initiatives.
Cinema data is characteristically complex, heterogeneous and interlinked. Rather than relying on ... more Cinema data is characteristically complex, heterogeneous and interlinked. Rather than relying on simple information retrieval techniques, researchers are increasingly turning to the creative exploration and reapplication of data in order to more fully explore the meaning of newly available and diverse data sets. In this context, the cinema historian becomes the creator of visual texts which can be assessed for both their interpretive insight and their aesthetic qualities. This paper presents four research projects that develop different spatio-temporal visualisation techniques to understand the industrial dynamics of post-war film exhibition and distribution in Australia. The research integrates groundbreaking work by a group of inter-disciplinary investigators into the effectiveness of techniques such as dendritic mapping, Circos, time-series graphs, animation, cartogram mapping, and multivariate visualisation for the study of cinema circuits and operations at a number of scales.
For present-day and future cinema historians, undertaking research informed by empirical approach... more For present-day and future cinema historians, undertaking research informed by empirical approaches to everyday social behaviour rests on an ability to store, aggregate and combine vast amounts of data and then use the results to perform deep analyses in order to glean insight. The Kinomatics Project is one such study of ‘big cinema data’. The design and construction of a global showtime dataset has created an unprecedented opportunity to study the volume, variety and velocity of film diffusion across the world. This paper will present our preliminary findings and more broadly will explore the theoretical and practical implications of cinema research based on extracting, storing, sharing and analyzing large-scale cinema data. How does the presence of massive data change cinema studies practices? What are the specific requirements, challenges, opportunities and strategies produced by projects such as this? Do new methods for discovering, processing and presenting cinema data also imply epistemological changes to our field of study? What are the disciplinary and epistemological consequences of this research?
""The humanities" encompasses a broad collection of disciplines with a loosely defined set of app... more ""The humanities" encompasses a broad collection of disciplines with a loosely defined set of approaches to the discovery and creation of knowledge.
In recent years we have seen the expansion of humanities scholarship sometimes described as series of "turns". There's been the "spatial turn", the "material turn", the "linguistic turn", the "performative turn", the "computational turn", even the "neuro-scientific turn". Scholars in the humanities are now faced with an array of new methodological practices that both challenge and advance the field and which have given rise to emerging disciplines:
Digital humanities
Spatial humanities
New materialism
Object ontologies
Economies of the humanities
Algorithmic humanities
This workshop will explore some of the benefits of an expanded approach to humanities research.
This symposium provided an introduction to some of Australia’s benchmark Digital Humanities proje... more This symposium provided an introduction to some of Australia’s benchmark Digital Humanities projects as well as a hands-on opportunity to work with some of the country’s most innovative Digital Humanities scholars and developers.
Speakers included:
Dr Tim Sherratt
Gavan McCarthy
Conal Tuohy
Ingrid Mason
Chair: Prof Deb Verhoeven
There’s no easy answer, but in the midst of the Convergence Review it is the question being asked... more There’s no easy answer, but in the midst of the Convergence Review it is the question being asked by industry and Government. What does it take to ensure that the funds and demand for quality Australian content are preserved and developed in the convergent environment?
This session will explore possible funding models to stimulate local digital production including SPAA's current work on a Digital Producer Offset proposal and the success of Canada's Bell Fund. Speakers include:
Ricky Sutton, Fairfax Digital; Peter Jenetsky, Movie Network Channels; David Court, AFTRS Centre for Screen Business; Deb Verhoeven, Media and Communication Deakin University; Peter Tapp, Australian Teachers of Media (ATOM); Andra Shaffer, The Bell Fund (Canada); Mark Bamford, TressCox Lawyers (Chair)
The first time directors appearing on the panel are: Boyd Hicklin (Director, Save Your Legs!) ... more The first time directors appearing on the panel are:
Boyd Hicklin (Director, Save Your Legs!)
Brothers Colin & Cameron Cairnes (Directors, 100 Bloody Acres)
David Pulbrook (Director, Last Dance).
Radio National's movie critic Julie Rigg, host of Triple R's Film Buff's Forecast Paul Harris and... more Radio National's movie critic Julie Rigg, host of Triple R's Film Buff's Forecast Paul Harris and Professor and Chair of Media and Communication at Deakin University Deb Verhoven dissect Mark Cousins' The Story of Film An Odyssey.
Join these great critics and commentators of cinema as they reflect on Mark Cousins' fiercely individual and epic odyssey of the story of film.
The panel will offer their own personal views on some of the seminal movements and protagonists in cinema's history and discuss what they would include in their own 'history of film'.
A Q&A with director Polly Watkins and producer Beth Frey
eResearch infrastructure in Australia for the humanities will be advanced by the investment in tw... more eResearch infrastructure in Australia for the humanities will be advanced by the investment in two significant NeCTAR funded projects: Humanities Networked Infrastructure (HuNI), a virtual laboratory; and the Federated Archaeological Information Management System (FAIMS), an e-research tool. In both proposals there are large lists of collaborators and a wider community of interested potential users. High levels of motivation, wide participation and active support are positive indicators that the funding is well targeted. Comparing the Australian approach to NeCTAR funded eResearch infrastructure in the humanities with the Mellon funded Bamboo project in support of the humanities in the United States of America and the JISC funded Virtual Research Environment programme in the United Kingdom provides a useful means of examining of the impact of collective community driven engagement versus broader strategy driven initiatives (and subsequent engagement) to investment. This evaluation can inform how government agencies, universities andeResearch peak bodies support these initiatives ongoing.
The Conversation, May 29, 2015
The Australian, Dec 10, 2014
Computers have completely changed the way academics undertake even the most mundane tasks. Their ... more Computers have completely changed the way academics undertake even the most mundane tasks. Their effect on our research practices has been profound. This article explores the possibilities offered by new technologies for serendipitous discovery in humanities and creative arts research.
The Conversation, Dec 11, 2014
Tis the season to make Top 10 lists. Why? Because we are hurtling with unavoidable haste toward t... more Tis the season to make Top 10 lists. Why? Because we are hurtling with unavoidable haste toward the end of another calendar year. It’s almost impossible to get through the day without some kind of Top 10 ranking grasping for our attention. And we all know it won’t go away until December 31. But when it comes to Top 10 movie lists the calendar year is a very poor basis for comparison.
The Conversation, Dec 3, 2014
By all reports the Australian cinema is dead. Left for dust by the noisy distractions of big budg... more By all reports the Australian cinema is dead. Left for dust by the noisy distractions of big budget movie franchises and the smaller diversions of teeny shiny devices. All you can see in any direction are carefully written epitaphs. At the heart of all of these proclamations of the Australian cinema’s untimely demise is a single common cause of death: the Australian cinema has simply withered away because nobody took an interest. In particular nobody in Australia. We know the local cinema is dead because the domestic box office numbers tell us so.
The Conversation, Aug 15, 2014
The backlash against “big data” studies is well underway. And no more so than in the area of huma... more The backlash against “big data” studies is well underway. And no more so than in the area of humanities and creative arts research.
The Conversation, Aug 20, 2014
Educause Review (online), Jun 2, 2014
The Humanities Networked Infrastructure (HuNI) is one of the national "virtual laboratories" bein... more The Humanities Networked Infrastructure (HuNI) is one of the national "virtual laboratories" being developed as part of the Australian government's NeCTAR (National e-Research Collaboration Tools and Resources) programme. NeCTAR aims to integrate existing capabilities (tools, data, and resources), support data-centered workflows, and build virtual communities to address well-defined research problems. This is a particularly challenging set of technical requirements and problems for the humanities and creative arts, which cover an extensive range of different disciplines and are characterized by complex and highly heterogeneous collections of data.1 User requirements and use cases are also very varied and complex.
HuNI is being developed by a consortium of 13 Australian institutions, led by Deakin University. It brings together data from 30 different Australian data sets, which have been developed by academic research groups and collecting institutions (libraries, archives, museums, and galleries) across a range of disciplines in the humanities and creative arts (including, but not limited to, literature, visual arts, performing arts, cinema, media, and history). These data sets contain more than two million authoritative records, capturing the people, places, objects, and events that make up the country's rich heritage.
The Conversation, Apr 30, 2014
The Conversation, Dec 16, 2013
The Conversation, Sep 19, 2013
Dr Michelle Smith describes how HuNI will enhance her work as a researcher
Overview of the Research My World collaboration between Deakin University and Pozible. The Resear... more Overview of the Research My World collaboration between Deakin University and Pozible. The Research My World collaboration effectively connected Deakin researchers with members of the public over a range of diverse projects.
For the past three years a team of researchers have been working on ways to help people navigate ... more For the past three years a team of researchers have been working on ways to help people navigate a path through the expanding world of online information. The result is the Humanities Networked Infrastructure (HuNI) platform: huni.net.au
Applied Network Science, 2022
In December 2019, to widespread acclamation, and following a concerted four-year campaign to incr... more In December 2019, to widespread acclamation, and following a concerted four-year campaign to increase gender diversity on Australian corporate boards, women reached 30 percent of board positions of the 200 largest companies listed on the Australian Stock Exchange (ASX), which are the constituents of the Standard & Poors (S&P) ASX200 stock market index. Chair of "30% Club Australia" Nicola Wakefield Evans cautioned against premature celebrations, stating "[w]hile this is a significant step in our journey, it's important to remember that 30 percent is the floor, not the ceiling" (Australian Associated Press 2019). This paper suggests that if 30 percent is "the floor" for women's appointments to ASX200 boards then there may be value in understanding how men and women tread these "floor boards" differently. Our research diverges from previous studies that are based on the position that balancing the number of men and women statistically is a synonym for social or political equity. In these studies, the merits of statistical targets or quotas are debated as an exclusive strategy for ensuring women's equity on boards. Our
PLOSOne, 2020
Studies of gender inequality in film industries have noted the persistence of male domination in ... more Studies of gender inequality in film industries have noted the persistence of male domination in creative roles (usually defined as director, producer, writer) and the slow pace of reform. Typical policy remedies are premised on aggregate counts of women as a proportion of overall industry participation. Network science offers an alternative way of identifying and proposing change mechanisms, as it puts emphasis on relationships instead of individuals. Preliminary work on applying network analysis to understand inequality in the film industry has been undertaken. However, in this study we offer a comprehensive approach that enables us to not only understand what inequality in the film industry looks like through the lens of network science but also how we can attempt to address this issue. We offer a data-driven simulation framework that investigates various what-if scenarios when it comes to network evolution. We then assess each of these scenarios with respect to its potential to address gender inequality in the film industry. As suggested by previous studies, inequality is exacerbated when industry networks are most closed. We review evidence from three different national film industries on network relationships in creative teams and identify a high proportion of men who only work with other men. In response to this observation, we test several mechanisms through which industry structures may generate higher levels of openness. Our results reveal that the most critical factor for improving network openness is not simply the statistical improvement of the number of women in a network, nor the removal of men who do not work with women. The most likely behavioural changes to a network will involve the production of connections between women and powerful men.
Media Industries Journal, 2019
This article draws on a big cultural dataset of over 130 million global screen times to consider ... more This article draws on a big cultural dataset of over 130 million global screen times to consider the impact that the gender of a film's director has on the screening prevalence and geographic spread of new release feature films at the cinema. We compare results based on film screenings between December 2012 and May 2015 across a set of forty countries including the United States, and Brazil. This research is timely in light of renewed attention given to sexism and gender discrimination in the film industry. Rather than focus on the statistical paucity of women in production teams, where discrimination acutely diminishes workplace opportunities, our analysis instead focuses at the other end of the spectrum and identifies gendered patterns in film screenings across the globe. We correlate our findings to the social gender gap analysis undertaken by the World Economic Forum. We hope the research may be used as evidence to support nuanced policy innovations that can result in greater gender equality in the film industry and society more broadly.
The safeguarding, preservation and valorisation of cultural heritage has increasingly become asso... more The safeguarding, preservation and valorisation of cultural heritage has increasingly become associated with the process of making cultural heritage assets available online . The process of digitization of cultural assets, while playing a key role in sharing knowledge, still represents a challenge for European and global heritage.
While the attention to audiovisual cultural heritage has been characterized by a limited focus on film and television as cultural products, the focus on the audiences and their experiences has been neglected. Looking at cinema-going experience shifts the focus from the film, as cultural/commercial product, to audiences, as citizens. This approach can broaden the scope of cultural heritage by including cinema-going as a new cultural category, which focuses on cinemas and the experience of cinema-going as the social counterpart of film and film-making: the consumption of cultural heritage will therefore become a cultural phenomenon it its own right.
This editorial examines three main areas of research in which this new concept of cinema heritage can be understood: tangible forms (such as the history of cinema theatre buildings and of the spatial dimension of cinema-going), intangible forms (such as oral histories related to the cinema-going experience) and digital forms (such as programming databases, and audiovisual archival material). By focusing on the cinema-going experience, we intend to promote a new holistic approach to cultural heritage, while at the same time encouraging new possible developments in film studies research.
Interventions: ICA Theme Book 2017
Taking our conversations at the 2017 conference of the International Communication Association (I... more Taking our conversations at the 2017 conference of the International Communication Association (ICA) as our cue, we delve into the gendered patterns of authorship and citation in review articles written about the discipline. These review articles have proliferated via a publishing industry bent on selling handbooks. Using the standard methods used in other forms of gender network analysis, we focus on the citations in the first 100 articles of The International Encyclopedia of Communication Theory and Philosophy, the ICA’s resource guide to the study of communication. Our data show strong disparities with regards to the number of women authors and articles about women’s scholarship as well as the citation of scholarly sources written by women in articles written by men. Based on the empirical evidence, we believe it is time for an intervention in communication scholarship. We suggest standards to enforce both personal and structural accountability. We want to make sure that violators of a feminist commitment to diversify our discipline be called on to make change happen, or else.
URL links to open access version of the conference paper. The paper explores the relationships b... more URL links to open access version of the conference paper.
The paper explores the relationships between countries in the exchange of movies and measures the reciprocal nature of these relationships. This investigation represents an innovative way to explore international exchanges of digital cinema analysed at the national level. Rather than focus on the market dominance of particular cinemas (e.g. the US or Indian cinemas) we examine the relative strength of two-way relationships in order to understand cultural reciprocity. The dynamics of shared cultural exchange are explored in terms of the volume of transactions between cinema nations expressed in the form of dyadic networks which is contrasted with raw transfers between nations to present a different and more nuanced level of understanding.
Beyond the Bottom-Line : the Producer in Film and Television Studies, 2014
The role of the screen producer is ramifying. Not only are there numerous producer categories, bu... more The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video, and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practicing their craft in a field that has already been transformed by digitisation and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nation-wide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research, and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/09 and 2011. We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognise the persistence of established production cultures that serve to distinguish different industry sectors.
Media Industries, 2019
In the wake of #MeToo and #TimesUp, it has become clear that the problem of patriarchy in the scr... more In the wake of #MeToo and #TimesUp, it has become clear that the problem of patriarchy in the screen and media industries is vast, scaled, unrelenting, and brutal in its impact. Our responses need to be equally nuanced, complex, and unyielding. This special section offers four essays that collectively represent our aim for a multifaceted, international, and intersectional set of perspectives. Read in combination they unpick industry binaries such as below-the-line versus above-the-line professions, pre-and post-industry, personal/individual versus political/structural, and North American versus (other) global industries. As such, this section is part of an urgent, ongoing conversation about how to effect meaningful change in current media industries. This special section of Media Industries journal is a considered response to recent, widespread protest at the political organization of the media industries. Throughout screen media industries across the globe, feminists have given expression to their displeasure at the conditions of their employment, a "mass disclosing," which is often collectively summed up with the repurposed hashtag #MeToo or #TimesUp. These unabated declarations of workplace harassment, discrimination and abuse at the hands of powerful male industry gatekeepers and celebrities is frequently described in media reportage as the "Weinstein effect," after the multiple accusations of sexual intimidation leveled against Hollywood producer Harvey Weinstein. Focussing attention so closely on
SSRN Electronic Journal, 2018
While international cinema trade has been studied extensively, no work to date has examined globa... more While international cinema trade has been studied extensively, no work to date has examined global distribution beyond country borders. Instead of exploring media flows from production origins to importing markets, this paper analyses the shape of each film's global theatrical run, combining information from 40 countries. The run is characterised by three main factors: the number of global screenings, the geographical spread, and the global duration in theatres. With the aid of cluster analysis, five types of distribution are identified based on the three proposed factors. The paper explores similarities and differences across the clusters using multiple regression analysis to model the relationship between global exposure in terms of screenings and movie, distribution, and origin characteristics. Results show notable distinctions between the segments with only the number of countries visited and documentary genre being uniform across clusters. This paper uses a dataset of 3,424 films from 124 origins that are released in at least two out of 40 countries included within the sample derived from the Kinomatics Global Showtime database. The unique contribution of this paper is in that it covers multiple areas to provide insight into cinema as a global market based on detailed screening-level observations constituting over 130 million showtimes.
Proceedings of the Digital Humanities in the Nordic Countries 5th Conference, 2020
This paper reports on an Australian project that is developing an online system to deliver resear... more This paper reports on an Australian project that is developing an online system to deliver researcher-driven national-scale infrastructure for the humanities, focused on mapping, time series, and data integration. Australian scholars and scholars of Australia worldwide are well served with digital resources and tools to deepen the understanding of Australia and its historical and cultural heritage. There are, however, significant barriers to use. The Time-Layered Cultural Map of Australia (TLCMap) will provide an umbrella infrastructure related to time and space, helping to activate and draw together existing high-quality resources. TLCMap expands the use of Australian cultural and historical data for research through sharply defined and powerful discovery mechanisms. See https://tlcmap.newcastle.edu.au/.