Deb Verhoeven
Deb Verhoeven is currently Canada 150 Research Chair in Gender and Cultural Informatics at the University of Alberta. Previously she held the role of Associate Dean of Engagement and Innovation at University of Technology Sydney (UTS). She is Director of the Kinomatics Project (http://kinomatics.com), an interdisciplinary, international investigation that collects, explores, analyses and represents data about the creative industries. In 2013 she was named Australia's Most Innovative Academic (Campus Review).
From 2008-2011 Verhoeven was the inaugural Deputy Chair, National Film and Sound Archive of Australia. In 2011 she was elected to the foundation committee of the Australasian Association for Digital Humanities (aaDH). She currently serves as the International Chair of the 2015 Association of Digital Humanities Organisations (ADHO) Program Committee.
Verhoeven’s principal research interest lies in extending the limits of conventional film studies; exploring the intersection between cinema studies and other disciplines such as history, information management, geo-spatial science, statistics, urban studies and economics. This work has evolved through collaborations with academics such as A/Prof Colin Arrowsmith (a geo-spatial scientist at RMIT University); Professor Jill Julius Mathews (a historian at Australian National University); Professor John Sedgwick (an economist at London Metropolitan University); Dr Brian Morris (cultural studies at RMIT University) and staff from the Centre for Screen Business at the Australian Film Television and Radio School (AFTRS); and in association with film studies academics such as Professor Richard Maltby and Dr Mike Walsh (Flinders University) and Dr Kate Bowles (University of Wollongong).
A former CEO of the Australian Film Institute, Professor Verhoeven is a member of the Australian Film Critics Association, the Fédération Internationale de la Presse Cinématographique (FIPRESCI), an Honorary Life Member of Women in Film and Television, an executive member of the International Cinema Audiences Research Group (ICARG), and a founding member of the Screen Economics Research Group (SERG). As a film critic Verhoeven is a regular critical contributor to various programs on ABC Radio National and appeared fortnightly on the high rating Jon Faine program on ABC Local Radio for 7 years. She was film critic for The Melbourne Times for 6 years and ran film programs on various public radio stations around Melbourne for many years prior to this.
Deb Verhoeven has an active role in film publishing. Until 2012, she was Chair of the widely read film journal Senses of Cinema and was Editor for the journal Studies in Australasian Cinema (Intellect) in 2009/10.
From 2008-2011 Verhoeven was the inaugural Deputy Chair, National Film and Sound Archive of Australia. In 2011 she was elected to the foundation committee of the Australasian Association for Digital Humanities (aaDH). She currently serves as the International Chair of the 2015 Association of Digital Humanities Organisations (ADHO) Program Committee.
Verhoeven’s principal research interest lies in extending the limits of conventional film studies; exploring the intersection between cinema studies and other disciplines such as history, information management, geo-spatial science, statistics, urban studies and economics. This work has evolved through collaborations with academics such as A/Prof Colin Arrowsmith (a geo-spatial scientist at RMIT University); Professor Jill Julius Mathews (a historian at Australian National University); Professor John Sedgwick (an economist at London Metropolitan University); Dr Brian Morris (cultural studies at RMIT University) and staff from the Centre for Screen Business at the Australian Film Television and Radio School (AFTRS); and in association with film studies academics such as Professor Richard Maltby and Dr Mike Walsh (Flinders University) and Dr Kate Bowles (University of Wollongong).
A former CEO of the Australian Film Institute, Professor Verhoeven is a member of the Australian Film Critics Association, the Fédération Internationale de la Presse Cinématographique (FIPRESCI), an Honorary Life Member of Women in Film and Television, an executive member of the International Cinema Audiences Research Group (ICARG), and a founding member of the Screen Economics Research Group (SERG). As a film critic Verhoeven is a regular critical contributor to various programs on ABC Radio National and appeared fortnightly on the high rating Jon Faine program on ABC Local Radio for 7 years. She was film critic for The Melbourne Times for 6 years and ran film programs on various public radio stations around Melbourne for many years prior to this.
Deb Verhoeven has an active role in film publishing. Until 2012, she was Chair of the widely read film journal Senses of Cinema and was Editor for the journal Studies in Australasian Cinema (Intellect) in 2009/10.
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Books by Deb Verhoeven
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.
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
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 $5,000 and $20,000 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
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
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.
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.
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 $5,000 and $20,000 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
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
References
Goldman, W. (1983). Adventures in the Screen Trade: Grand Central Publishing.
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.
- 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
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.
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.
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.
Speakers included:
Dr Tim Sherratt
Gavan McCarthy
Conal Tuohy
Ingrid Mason
Chair: Prof Deb Verhoeven
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)
http://www.slideshare.net/debver/who-is-a-producer
Boyd Hicklin (Director, Save Your Legs!)
Brothers Colin & Cameron Cairnes (Directors, 100 Bloody Acres)
David Pulbrook (Director, Last Dance).
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'.
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.
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.
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.