Deb Verhoeven is Associate Dean of Engagement and Innovation at the University of Technology Sydney. Before this she was Professor of Media and Communication at Deakin University. Until 2011 she held the role of director of the AFI Research Collection at RMIT. A writer, broadcaster, film critic and commentator, Verhoeven is the author of more than 100 journal articles and book chapters. Her most recent book is Jane Campion published in 2009 by Routledge, a detailed case study of the commercial and cultural role of the auteur in the contemporary film industry.
In 2008 Verhoeven was appointed inaugural deputy chair, National Film and Sound Archive (Aust.). In 2011 she was elected to the inaugural committee of the Australasian Association for Digital Humanities (aaDH). She served as chair of the 2015 Digital Humanities conference. She is the Director of the Humanities Networked Infrastructure project, a public virtual laboratory that combines data from may Australian cultural and research collections.
Verhoeven is a leading proponent of the digital humanities in Australia. Her recent research has addressed the vast amounts of newly available ‘cultural data’ that has enabled unprecedented computational analysis in the humanities. In addition to scholarly publications and media appearances, she has focused on the development of online research resources such as the Cinema and Audiences Research Project (CAARP) database, an ongoing exploration of big cultural data (kinomatics) and The Ultimate Gig Guide (TUGG) an online archive of live music information.
She is the director of the Humanities Networked Infrastructure (HuNI) project, a national linked data initiative intended to unite and unlock Australia's cultural datasets. The project is funded by NeCTAR (National eResearch Collaboration Tools and Resources). HuNI is a national Virtual Laboratory project developed as part of the Australian government’s NeCTAR (National e-Research Collaboration Tools and Resources) program. HuNI combines information from 31 of Australia’s most significant cultural datasets. These datasets comprise more than a million authoritative records relating to the people, organisations, objects and events that make up Australia's abundant cultural heritage. HuNI also enables researchers to work with and share this large-scale aggregation of cultural information. HuNI was developed as a partnership between 13 public institutions, led by Deakin University.
In 2013 Verhoeven initiated the Research My World collaboration between Deakin University and the crowdfunding platform Pozible to pilot the micro-financing of university research. On the basis of this initiative Verhoeven was recognised by Campus Review as Australia’s most innovative academic.
2017 NeCTAR Virtual Laboratory Grant (NCRIS)
Humanities Networked Infrastructure (HuNI) $120,000 Administering organization: Deakin University
2016 NeCTAR Virtual Laboratory Grant (NCRIS)
HuNI: Graph-based search facility for networked humanities and creative arts data, $192,500 Administering organization: Deakin University
2015 NeCTAR Virtual Laboratory Grant (NCRIS + EIF)
Virtual Laboratories Project: HuNI and Alveo Virtual Lab use of Trove Digitised Newspaper collection, $170,000 Administering organization: Deakin University
NeCTAR User Support Grant
HuNI user support improvements, $23,000 Administering organization: Deakin University
Circuits of Cinema: Itinerant Showmanship in North America, 1895 to 1907 Administering organization: With Moore, Dr Paul; Fuller-Seely, Prof Kathryn; Klenotic, Dr Jeffrey; Caquard, Prof Sebastien. CAN$105,657 Ryerson University,
2014 ARC LIEF Grant
Design and art Australia online: sustainable data sharing for Australian researchers and collections With Harley, Prof Ross R; Bennett, Prof Jill; Anderson, Prof Jaynie L; Ledbury, Prof Andrew M; McNeil, Prof Peter K; Edquist, Prof Harriet; Schmidt, Prof Heinrich W; Friedman, Prof Ken; Sierra, Prof Marie A; Speck, A/Prof Catherine M; Mendelssohn, A/Prof Joanna; Thomas, A/Prof Paul; Biddle, Dr Jennifer L; White, Dr Anthony G; De Lorenzo, Dr Catherine M; Callaway, Dr Anita J; Chan, Mr Sebastian R. $240,000 Administering Organisation COFA (UNSW),
2013 Named ‘Most Innovative Australian Academic’ Campus Review
Winner Vice Chancellor’s Award for Research Partnerships Deakin University
2012-2014 NeCTAR Virtual Laboratory Grant
Humanities Networked Infrastructure Virtual Laboratory (HuNI). With13 institutional partners. $2.1m. Administering organization: Deakin University
ARC Discovery Grant
Only at the movies: mapping the contemporary Australian cinema market. With Prof Richard Maltby, A/Prof Colin Arrowsmith, Dr Kate Bowles, Dr Bronwyn Coate. ?$289,000 Administering Organisation: Deakin University?
2012 ARC LIEF Grant
Design and Art Australia Online: Sustainable data sharing for Australian researchers and collections. ? With Prof R Harley, Prof J Bennett, Prof J L Anderson, Prof A M Ledbury, Prof P K McNeil, Prof H Edquist, Prof H W Schmidt, Prof K Friedman, Prof M A Sierra, A/Prof C M Speck, A/Prof J Mendelssohn, A/Prof P Thomas, Dr J L Biddle, Dr A G White, Dr C M De Lorenzo, Dr A J Callaway, Mr S R Chan?. $555,000 Administering Organisation: The University of New South Wales.
2010-2011 ANDS Seeding the Commons Grant
Screen Media Research Archive. $125,000. Administering Organisation: RMIT University
2008-2011 ARC Discovery Grant
Mapping the Movies: the changing nature of Australia’s cinema circuits and their audiences, 1956-1984. With Prof Richard Maltby, Prof Jill Julius Mathews, A/Prof Colin Arrowsmith, Dr Michael Walsh, Dr Kate Bowles. $388,888. Administering Organisation: Flinders University
2010 Winner, ATOM Awards (Best Tertiary Education Resource) Bonza: an online film and TV research resource
2010 Finalist, Victorian Community History Awards
Parlato in Italiano
2009-2010 Honorary Creative Fellowship, State Library of Victoria
2007-2008 Local History Grant Program, Victorian Government
In association with the Myrtleford Historical Society: ‘A Good Picture Town’: The History and Place of Italian Cinema in the Myrtleford Community. $7,000
2006 Media Star Award
For overall Media Performance, RMIT University
2005-2007 ARC Discovery Grant
Regional Markets and Local Audiences: Case Studies in Australian Cinema Consumption, 1928-1980. With Prof Richard Maltby, Dr Michael Walsh, Dr Kate Bowles. $422,537. Administering Organisation: Flinders University
2005 ATN Research Challenge Grant
Community Networks: Human Communication as a Source of Sustainability in Global Australia. $40,000. Chief Investigator (RMIT). Administering Organisation: UTS
2004 Media Star Award
For Media Initiative, RMIT University
2002 Dean’s Research Publication Award
Faculty of Art, Design and Communication, RMIT University
1999-2000 CUTSD Grant
Developing Authentic Research and Writing Skills in Cinema Studies Using a Hypermedia Database to Create an Online Learning Environment to Enable the Linking of Cinema Studies Essays 'written' in Words and Pictures between Students and the Film Industry at Large. $48,805. Chief Investigator, Administering Organisation: RMIT University
1993-7 Melbourne University Postgraduate Scholarship
Can supervise: YES
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.
Verhoeven, D 2009, Jane Campion, Routledge, New York, N. Y..
Jane Campion, one of the most celebrated auters of modern cinema, was the first female director to be awarded the prestigious Palme d'Or. In this first detailed account of Jane Campion's career, Verhoeven examines how contemporary film directors 'fashion' themselves as auters- through their personal interactions with the media, in their choice of projects, 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 and Holy Smoke, Verhoeven introduces the key debates surrounding this controversial and often experimental director. Features a career overview, a filmography and an extended interview with Campion on her approach to creativity.
Verhoeven, D 2006, Sheep and the Australian cinema, Melbourne University Publishing, Carlton, Vic..
Pandjaitan, H, Aryani, P & Verhoeven, D 2001, Siapa peduli kebijakan per-film-an di Indonesia? : kertas posisi kebijakan perfilman di Indonesia, Indonesia Media Law and Policy Centre, Jakarta, Indonesia.
Eltham, B & Verhoeven, D 2018, 'A 'natural experiment' in Australian cultural policy: Australian Government funding cuts disproportionately affect companies that produce more new work and have larger audiences', International Journal of Cultural Policy, pp. 1-14.View/Download from: Publisher's site
© 2018 Informa UK Limited, trading as Taylor & Francis Group In Australia, cultural policy settings differentiate between purported 'small-to-medium' and 'major' performing arts organisations, primarily in relation to their revenue size and institutional stability. This article publishes a quantitative analysis of the relative creative outputs of these Australian performing arts organisations, focusing primarily on the production of so-called 'new works': original cultural texts, created and performed recently. Using survey data from 21 Australian performing arts organisations, as well as aggregated government data regarding 173 performing arts organisations, and repertoire data for 8 symphony orchestras, across 7 years, we set out to determine the relationship (if any) of organisational scale and artform to the amount of new work in the Australian publicly subsidised performing arts sector. We find that the majority of the new work is produced by the small-to-medium sector. Smaller organisations are more likely to produce new work than larger ones, and large organisations produce relatively little new work. The small-to-medium sector has, in aggregate, larger audiences than the major companies. These findings have specific implications for Australia's lively cultural policy debate.
Zemaityte, V, Verhoeven, D & Coate, B 2018, 'Understanding the dynamics between the United States and Australian film markets: testing the '10% rule'', Studies in Australasian Cinema, vol. 12, no. 1, pp. 56-69.View/Download from: UTS OPUS or Publisher's site
© 2018 Informa UK Limited, trading as Taylor & Francis Group. Australia has historically been an important market for American media exports. As far as film trade relations between the two countries go, there is an anecdotal perception that distributors follow a '10% rule' to predict the popularity of Hollywood titles in Australia, expecting American films to earn around 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. This article addresses the gap in both scholarship and business practices and uses the '10% rule' as a starting point to discuss various facets of the relationship between the two markets. We measure the popularity of American films among Australian audiences as well as contrast the differences that emerge in terms of distribution and exhibition in these markets. The article compares box office revenues, screening counts, life length in theatres and release delay in both markets. In addition, we examine how Australian exhibitors and audiences differ from the US in terms of preference towards genre, distribution company and production origin. The discussion is informed by a large dataset of global film screenings from the Kinomatics Project in conjunction with box office data compiled by Rentrak. We find no support for the '10% rule' but strong evidence that audience tastes as well as distribution and exhibition practices differ across regions.
Coate, B, Verhoeven, D & Davidson, A 2017, 'The Cinema Cities Index: comparing urban cinema cultures around the world', Media international Australia, vol. 163, no. 1, pp. 163-175.View/Download from: UTS OPUS or Publisher's site
Cinema culture varies markedly around the globe and between cities. While this is obvious, the drivers of cinema culture are complex and interact in different ways across different locations and often give rise to a distinct character of localised cinema. This can be witnessed at different scales: across countries, between cities and, on a more granular level, based on localised neighbourhoods. In this article, we apply quantitative methods to investigate cities' ability to support cinema-going, or what we term 'cinemability'. We focus on four inter-related aspects that we argue contribute to a city's cinemability. These include the physical infrastructure of cinemas, the number and variety of films available, the presence of film festivals as a form of cultural signalling and the average cost of cinema admissions. In this article, we construct a ranked index of 'cinemability' based on data sourced from the Kinomatics Screen Dataset in order to facilitate a global comparison of contemporary cinema-going across 311 world cities. Our Cinema Cities Index is then compared with public contributions on the Cinema Cities website, http://www.cinemacities.com, where users can generate their own version of the index by assigning weights to the different variables based on their personal preferences. The results of our analysis reveal that the public place emphasis on factors such as the diversity of films offered and the affordability of cinema admission as key contributors to what makes a particular city amendable to 'cinemability'.
Burrows, T & Verhoeven, D 2016, 'Aggregating data for social linking in the humanities and creative arts : the "Humanities Networked Infrastructure (HuNI)"', Signa : revista de la Asociacion Espanola de Semiotica, vol. 25, pp. 109-119.View/Download from: Publisher's site
This paper reports on the development of the Humanities Networked Infrastructure (HuNI), a service which aggregates data from thirty Australian data sources and makes them available for use by researchers across the humanities and creative arts, and more widely by the general public. We discuss the methods used by HuNI to aggregate data, as well as the conceptual framework which has shaped the design of HuNI's Data Model around six core entity types. Two of the key functions available to users of HuNI – building collections and creating links – are discussed, together with their design rationale.
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.
Verhoeven, DK 2016, 'Visualising data in digital cinema studies: more than just going through the motions?', Alphaville : journal of film and screen media, no. 11, pp. 92-104.
This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first 'big data' studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records that describe every film screening in forty-eight countries over a thirty-month period as well as additional aggregated box-office data.
Davidson, A, Verhoeven, DK & Arrowsmith, C 2015, 'Petal diagrams: a new technique for mapping historical change in the film industry', International journal of humanities and arts computing, vol. 9, no. 2, pp. 142-163.View/Download from: Publisher's site
As the study of cinema has increasingly turned to the examination of economic ebbs and industrial flows, rather than focussing its attention solely on the critical evaluation of the films themselves, new analytic techniques and tools have been adopted (and adapted) by film scholars. Key amongst these is the use of innovative visualization techniques that can assist in the understanding of the spatial and temporal features of film industry practices. However, like the cinema itself, visualization carries its own spatial and temporal dimension. This article explores some of the benefits and limitations that derive from the use of spatial visualization technologies in the field of cinema studies. In particular, this research presents a new holistic multivariate approach to spatio-temporal visualization for point based historical data. This method has been developed through extending the spatial presence in timeline graphics and through meaningful spatial classification and representation.
Verhoeven, D, Davidson, A & Coate, B 2015, 'Australian films at large: expanding the evidence about Australian cinema performance', Studies in Australasian Cinema, vol. 9, no. 1, pp. 7-20.View/Download from: Publisher's site
International markets have in recent years become a critical component of the business model for Hollywood cinema, opening up a renewed interest in the global dimensions of film diffusion. Smaller film-producing nations such as Denmark have similarly emphasised global distribution as a key component of the industry's success. Typically, however, claims for Australian film industry success rely almost exclusively on a film's domestic box office performance. This paper considers the possibilities for an expanded approach to measuring success and failure in the Australian film industry. Adopting analytic methods from cinema studies, cultural economics and geo-spatial sciences, this paper will examine the international theatrical circulation of Australian films using a unique global database of cinema showtimes. This data set captures all formal film screenings in 47 countries over an 18-month period ending 1 June 2014 and enables detailed empirical study of the locations visited by Australian-produced films. In conjunction with relevant box office data and contextual critical commentary, we propose a revised and expanded 'film impact rating' for assessing the reported performance of Australian films.
Verhoeven, DK & Coate, B 2015, 'Counting the cost: the impact of cinema ticket prices in Australia', Metro, no. 186, pp. 118-123.
The authors discuss the change in cinema ticket price and its effect on audience perception on cinema attendance in Australia. Topics discussed include the comparison of ticket prices in Australia to countries such as the U.S., Japan, and New Zealand, the reason of high ticket prices in Australia such as high wages in theatre operation and piracy, and the drop of cinema admission as result of high ticket prices. They mention the social equity issues raised by the high cost of cinema tickets.
Arrowsmith, C, Verhoeven, D & Davidson, A 2014, 'Exhibiting the exhibitors : spatial visualization for heterogeneous cinema venue data', The Cartographic Journal, vol. 51, no. 4, pp. 301-312.View/Download from: Publisher's site
Verhoeven, DK, Davidson, A, Gionfriddo, A, Verhoeven, J & Gravestock, P 2014, 'Turning Gigabytes into Gigs: 'Songification' and Live Music Data', Academic quarter, vol. 9, pp. 151-163.
Complex data is challenging to understand when it is represented as written communication even when it is structured in a table. How- ever, choosing to represent data in creative ways can aid our under- standing of complex ideas and patterns. In this regard, the creative industries have a great deal to offer data-intensive scholarly disci- plines. Music, for example, is not often used to interpret data, yet the rhythmic nature of music lends itself to the representation and anal- ysis of temporal data. Taking the music industry as a case study, this paper explores how data about historical live music gigs can be analysed, extend- ed and re-presented to create new insights. Using a unique process called 'songification' we demonstrate how enhanced auditory data design can provide a medium for aural intuition. The case study also illustrates the benefits of an expanded and inclusive view of research; 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, analyse, deliver and exchange knowledge.
Verhoeven, D 2013, ' : Dionysos Films ', Film icon: journal of Greek film studies, no. 1, pp. 1-35.
Απ τα τλη της δεκαετας του ’40 μχρι τα τλη της δεκαετας του ’70, το κντρο και τα περχωρα της Μελβορνης στγασαν να δυναμικ ελληνικ κινηματογραφικ κκλωμα τριντα περπου διαφορετικν αιθουσν, οι οποες λειτοργησαν υπ την εποπτεα ενς μικρο αριθμο καθετοποιημνων επιχειρσεων προβολς/διανομς. Η Dionysos Films ταν ανμεσα στις πρτες ελληνικς εταιρεες προβολς/διανομς που ιδρθη&kappa...
Cameron, A, Verhoeven, D & Court, D 2010, 'Above the bottom line : understanding Australian screen content producers', Media International Australia, vol. 136, pp. 90-102.
The recently completed Australian Screen Producer Survey provides the most current and detailed picture of the culture, motivations and aspirations of a highly influential sector of the content production industries. Drawing upon the results of the survey, this article reflects on the historical and theoretical difficulties entailed in defining the producer as a professional category, before outlining some of the survey’s key findings. In particular, it examines producers’ demographic and sectoral profile, analyses their attitudes towards the relative importance of education and experience, and explores their underlying motivations. Amongst other findings, the survey reveals a tendency towards idealism among Australian producers that would appear to be at odds with the financial realities of the business. It therefore offers a variety of stakeholders (including government and educational institutions, as well as producers themselves) with the opportunity to reflect upon the future shape and direction of the Australian media industry.
Verhoeven, D 2010, 'Coming soon (to a theatre near you) : the temporality of global film distribution to Australia', Media International Australia, vol. 136, pp. 146-161.
This article explores the changing contexts of international film exhibition in Australia over a 20-year period (1989–2009) by examining in some empirical detail Australia’s position in the global flow of films during this time. It argues that, at the most abstract level, distributors are engaged in the management and mediation of time and space in the field of global communications. It is proposed that distributors, through the organisation of temporal differentiation, are explicitly active in the creation of both cultural and commodity value. This is particularly apparent as film distributors explore and engage new methodologies of film release, which emphasise overlapping, intersecting and contradictory temporalities in the cinema experience.
Verhoeven, D 2010, 'It was an experience that totally blew up in my face : Steve Railsback and Turkey shoot', Studies in Australasian cinema, vol. 4, no. 1, pp. 73-79.View/Download from: Publisher's site
The schlock horror film Turkey Shoot is widely regarded as one of the most disreputable Australian exploitation titles in a genre already well noted for controversy. This short article frames the controversies that surround the film from production to critical reception, which sets the scene for an interview by Mark Harley with the film's star Steve Railsback, who reflects on the movie's production, his role, the controversy and the film's reception.
Verhoeven, D & Cameron, A 2010, 'Analysing the culture of Australian screen content producers', Lumina : journal of screen arts and business, vol. 6, pp. 40-61.
Verhoeven, D 2009, 'Patrick White's the night the prowler', Metro, vol. 163, no. 2009, pp. 74-87.
Verhoeven, D 2009, 'The Business of creativity : what drives the Australian screen content producer?', Lumina : journal of screen arts and business, vol. 2, pp. 269-277.
Verhoeven, D & Morris, B 2009, 'She would say that, he's from Melbourne : fun and games with Dame Edna and Barry Humphries', Journal of Australian Studies, vol. 33, no. 3, pp. 317-333.View/Download from: Publisher's site
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 located, we argue that the initial success of Humphries’ satire rests on his elaboration of a specific series of geo-social locations. The article then examines the ways in which Edna makes the local her own global, demonstrating how Barry Humphries has progressively modified and internationalised Edna's provincialism so that his satirical cultural project is understandable over five decades and beyond her origins in Melbourne.
Verhoeven, D 2008, 'The rise and rise of promo-sexuality : YouTube, Sheep and Brokeback Mountain', EASI, pp. 63-70.
Bowles, K, Maltby, R, Verhoeven, D & Walsh, M 2007, 'More than Ballyhoo? : The importance of understanding film consumption in Australia', Metro, vol. 152, pp. 96-101.
We have all become used to reading stories filled with alarm and recrimination, or (more rarely) tentative optimism concerning the local production industry's percentage of the domestic box office. This blunt but exploitable indicator greatly simplifies the interaction between film product and its consumer.
Verhoeven, D 2007, 'Bitter springs', Senses of cinema, vol. 45, pp. 1-13.
Verhoeven, D 2007, 'Twice born : Dionysos films and the establishment of Greek film circuit in Australia', Studies in Australasian cinema, vol. 1, no. 3, pp. 96-152.View/Download from: Publisher's site
From the late 1940s until the late 1970s Melbourne was home to a dynamic Greek cinema circuit made up of some 30 different inner-city and suburban venues operated by a handful of vertically integrated exhibition/distribution businesses. Dionysos Films was amongst the first Greek film exhibition/distribution companies to form in Australia and from 1949 until 1956 it operated with little significant competition, establishing the parameters for a diasporic Greek film circuit that stretched across regional and metropolitan Australia and into New Zealand. This article measures the shadow cast by Dionysos Films (and its charismatic proprietor Stathis Raftopoulos) over the history of Antipodean Greek film experiences and the implications that this neglected aspect of Australian and Greek film history has for our understanding of the national cinemas in both countries.
Verhoeven, D 2006, '1975 : The unease of passing milestones', Metro, vol. 149, pp. 164-167.
Verhoeven, D 2006, 'Film industries in the balance sheet : the value of political economic approaches to cinema studies', Southern review : communication, politics and culture, vol. 38, no. 3, pp. 130-132.
Verhoeven, D 2005, 'Kino therapy : cinema, cancer and look both ways', Metro, vol. 146-147, pp. 42-45.
Verhoeven, D 2003, 'Barrett Hodsdon, Straight roads and crossed lines: the quest for film culture in Australia? Shenton Park, WA: Bernt Porridge Group, 2001', Screening the past : an international, refereed, electronic journal of screen history, vol. 15, pp. 1-3.
Verhoeven, D 2003, 'Review of Ann Pointon & Chris Davies (eds) Framed : interrogating disability in the media', Media Information Australia, vol. 106.
Verhoeven, D 1998, 'The King of comedy', Metro, vol. 113-114, pp. 133-134.
Verhoeven, D 1997, 'Black Sunday', Metro, vol. 110, pp. 81-82.
Verhoeven, D 1996, 'The match that started my fire', Metro, vol. 109, pp. 53-53.
Verhoeven, D 1992, 'Anti-hero positive', Metro, pp. 8-13.
Coate, B, Verhoeven, D, Arrowsmith, C & Zemaityte, V 2017, 'Feature film diversity on Australian cinema screens: Implications for cultural diversity studies using big data' in Australian Screen in the 2000s, pp. 341-360.View/Download from: UTS OPUS or Publisher's site
© The Editor(s) and The Author(s) 2017. Like in much of the world, cinema screens in Australia are dominated by feature films from the US. Drawing on the Kinomatics Global Showtime Dataset, a big cultural dataset of cinema screenings, this chapter considers the diversity of films screened in Australian cinemas by examining not only the broad range of film titles on offer, but also what titles cinemagoers have practical access to, represented by films' screen-shares. Results of this analysis reveal that despite substantial growth in the volume of first-release feature films on Australian cinema screens, for most cinema audiences, this has not translated into an increase in the diversity of films viewed, since the onus for the provision of diversity rests with smaller cinemas that do not belong to major chains.
Verhoeven, DK 2016, 'Show me the history! Big data goes to the movies' in Acland, CR & Hoyt, E (eds), The arclight guidebook to media history and the digital humanities, Reframe Books, Sussex, Eng., pp. 165-183.
Eltham, B & Verhoeven, DK 2015, 'Philosophy versus evidence is no way to orchestrate cultural policy' in Watson, J (ed), Politics, policy and the chance of change, Melbourne University Press, Melbourne, Vic., pp. 219-222.
Verhoeven, D 2015, 'Jane Campion' in Goldsmith, B, Ryan, MD & Lealand, G (eds), Directory of world cinema: Australia & New Zealand 2, Intellect, Bristol, London, pp. 34-37.
Verhoeven, D & Palmer, S 2015, 'Because it takes a village to fund the answers: Crowdfunding University Research' in Bennett, L, Chin, B & Jones, B (eds), Crowdfunding the Future - Media Industries, Ethics, and Digital Society, Peter Lang, New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, pp. 133-156.
Whichever way you look at it, online crowdfunding is ramifying. From its foundations supporting creative industry initiatives, crowdfunding has branched into almost every aspect of public and private enterprise. Niche crowdfunding platforms and models are burgeoning across the globe faster than you can trill 'kerching'. Early adopters have been quick to discover that in addition to money, they also get free market information and an opportunity to develop a relationship with their market base. Despite these evident benefits, universities have been cautious entrants in the crowdfunding space and more generally in the emerging 'collaborative economy' (Owyang, 2013). There are many cultural and institutional legacies that might explain this reluctance. For example, to date universities have achieved social (and economic) distinction through refining a set of exclusionary practices including, but not limited to, versions of gatekeeping, ranking and credentialing. These practices are reproduced in the expected behaviors of individual academics who garner social currency and status as experts, legislators and interpreters (Osborne, 20014: 435). Digitalization and the emergent knowledge and collaboration economies, have the potential to disrupt the academy's traditional appeals to distinction and to re-engage universities and academics with their public stakeholders. This chapter will examine some of the challenges and benefits arising from public micro-funding of university-based research initiatives during a period of industrial transition in the university sector. Broadly then this chapter asks; what does scholarship mean in a digital ecosystem where sociality (rather than traditional systems for assessing academic merit) affords research opportunity and success? How might university research be rethought in a networked world where personal and professional identities are blurred? What happens when scholars adopt the same pathways as non-scholars for knowledge di...
Verhoeven, DK & Morris, B 2015, ''Second city syndrome': media reportage of urban rankings' in Bouchard, J, Candel, E, Cardy, H & Gomez-Mejia, G (eds), La médiatisation de l'évaluation/Evaluation in the Media, Peter Lang, New York, N.Y., pp. 177-192.
Ryan, MD, Goldsmith, B, Cunningham, S & Verhoeven, DK 2014, 'The Australian Screen Producer in Transition' in Spicer, A, McKenna, A & Meir, C (eds), Beyond the bottom-line: The producer in film and television studies, Bloomsbury Publishing, New York, pp. 125-142.
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 af ield 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.
Verhoeven, D 2014, 'Doing the sheep good : facilitating engagement in digital humanities and creative arts research' in Arthur, P & Bode, K (eds), Advancing digital humanities: research, methods, theories, Palgrave MacMillan, Basingstoke, Eng., pp. 206-220.
Verhoeven, D 2013, 'Dorothy Gordon' in Gaines, J, Vatsal, R & Dall Asta, M (eds), Women Film Pioneers Project, Center for Digital Research and Scholarship, Columbia University, New York, NY, pp. 1-5.
Perhaps due to her later fame as the newspaper columnist and controversial radio personality known as “Andrea,” the early film career of Dorothy Gordon has been largely overlooked. Certainly her significant celebrity in Australia in the 1 960s overshadowed her comparatively lesser achievements as a silent cinema extra, actor, screenwriter, and art director. The recognition of her contribution to the Australian film industry is further diminished by the loss of her major work as star of Raymond Longford’s Hills of Hate (1926). In addition, her reputation as an entertaining raconteur fond of telling tall stories, especially about herself, leav es much room for doubt about the recorded detail of her early career in both Holly wood and Australian silent films.
Verhoeven, D 2013, 'Señora Spencer' in Gaines, J, Vatsal, R & Dall Asta, M (eds), Women film pioneers project, Center for Digital Research and Scholarship, Columbia University, New York, NY, pp. 1-8.
Verhoeven, D 2013, 'What is a cinema? Death, closure and the database' in Aveyard, K & Moran, A (eds), Watching films: new perspectives on movie-going, exhibition and reception, Intellect Ltd, Bristol, England, pp. 33-51.
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.
Verhoeven, D & Arrowsmith, C 2013, 'Mapping the ill disciplined? Spatial analyses and historical change in the post-war film industry' in Hallam, J & Roberts, L (eds), Locating the moving image: new approaches to film and place, Indiana University Press, Bloomington, Ind., pp. 106-129.
As part of a broad disciplinary shift, from a focus on measuring the value and meaning of cultural artefacts to understanding the import of cultural flows, humanities researchers are increasingly turning to other disciplines and disciplinary practices to inform their research. For film scholars, rather than providing a reading of specific media texts and their qualities there is an increasing focus on the contextual events that shape and formulate cinema practice. This chapter is an example of how cross-disciplinary relationships, for example between Cinema Studies, Geospatial Science, Statistics and the Creative Arts can uncover new research questions and test methodologies across uncharted disciplinary terrain. It also offers an opportunity to reflect on some of the key assumptions around collaborative research, through its reorganization of academic spaces and “sites” of knowledge.
Davidson, A, Arrowsmith, C & Verhoeven, D 2011, 'A method for the visual representation of historic multivariate point data' in Ruas, A (ed), Advances in cartography and GIScience, volume 2 : selection from ICC 2011, Springer-Verlag, Berlin, Germany, pp. 163-178.View/Download from: Publisher's site
The visual representation of multivariate spatial and temporal data is important for interpreting and analyzing historical geographic patterns that change over time. The introduction of geospatial technologies in historical scholarship has challenged the suitability of current visual representations due to the need for greater temporal emphasis and the tracking of historical events over time. This research presents a holistic multivariate approach to historical visual representation for point based historical data. The method has been developed through extending the spatial presence in information graphics and through meaningful spatial classification. This paper demonstrates the benefits gained from integrating historical, geographic, temporal, and attribute data through the development of a case study on the history of Melbourne’s cinema venues between 1946 and 1986.
Verhoeven, D 2011, 'Film distribution in the diaspora : temporality, community and national cinema' in Maltby, R (ed), Explorations in new cinema history : approaches and case studies, John Wiley & Sons, Hoboken, N. J., pp. 243-260.
Verhoeven, D 2010, 'Film, video, dvd and online delivery' in Cunningham, S & Turner, G (eds), The media & communications in Australia, Allen & Unwin, Sydney, N.S.W., pp. 133-154.
Verhoeven, D 2010, 'Italian cinema in Myrtleford : a wider context' in Taylor, J & Troup, C (eds), Parlato in Italiano : the heyday of Italian cinema in Myrtleford in the 1960s, Myrtleford and District Historical Society, Myrtleford, Vic., pp. 32-37.
Verhoeven, D, Bowles, K & Arrowsmith, C 2009, 'Mapping the movies: reflections on the use of geospatial technologies for historical cinema audience research' in Ross, M, Grauer, M & Freisleben, B (eds), Digital tools in media studies : analysis and research : an overview, Transcript Verlag, Bielefeld, Germany, pp. 69-81.
Verhoeven, D 2006, 'Film and video' in Cunningham, S & Turner, G (eds), The media and communications in Australia, Allen & Unwin, Sydney, N.S.W., pp. 154-174.
Verhoeven, D 2002, 'Film and video' in Cunningham, S & Turner, G (eds), The media & communications in Australia, Allen & Unwin, Sydney, N.S.W., pp. 154-174.
Verhoeven, D 2000, 'Australia : telling stories of the Australian cinema' in Hanan, D (ed), Film in South East Asia : views from the region : essays on film in ten South East Asian countries, SEAPAVA in association with ScreenSound Australia, Hanoi, Vietnam, pp. 216-242.
Verhoeven, D 2000, 'The passionate industry' in Work never done : Australia's women filmworkers from the 1930s to 1970s, Melbourne Cinematheque & ScreenSound Australia, Melbourne, Vic..
Trinh, TH & Verhoeven, D 1999, 'A scenography of love' in Trinh, T (ed), Cinema interval, Routledge, New York, N.Y., pp. 3-16.
Verhoeven, D 1999, 'Come up smiling' in McFarlane, B, Mayer, G & Bertrand, I (eds), Oxford companion to Australian film, Oxford University Press, Melbourne, Vic., pp. 74-74.
Verhoeven, D 1999, 'The broken melody' in McFarlane, B, Mayer, G & Bertrand, I (eds), Oxford companion to Australian film, Oxford University Press, Melbourne, Vic., pp. 44-45.
Verhoeven, D 1999, 'Thoroughbred' in McFarlane, B, Mayer, G & Bertrand, I (eds), Oxford companion to Australian film, Oxford University Press, Melbourne, Vic., pp. 495-495.
Verhoeven, D 1998, 'India song' in Treasures from the French Embassy Collection, National Cinematheque, Melbourne, Vic..
Verhoeven, D 1997, 'The sexual terrain of the Australian feature film : Putting the Out:back into the ocker' in Jackson, C & Tapp, P (eds), Bent lens : a world guide to gay & lesbian film, Australian Catalogue Company, Melbourne, Vic., pp. 25-32.
Verhoeven, D 1997, 'Unphotogenus : daggy snaps' in Koop, S (ed), A small history of photography, Centre for Contemporary Photography, Melbourne, Vic., pp. 68-70.
Verhoeven, D 1996, 'Fragments : French sheep and early melodrama' in Warren, J, Nettelbeck, C & Kirsop, W (eds), A century of cinema : Australian and French connections, University of Melbourne, Melbourne, Vic., pp. 93-104.
Verhoeven, D 1995, 'Little pricks make a lasting impression : the art of the tattoo' in World art : 90-1.
Verhoeven, D 1995, 'Sheep's clothing : a dress in some Australian films' in Berryman, K (ed), Screening the past : aspects of early Australian film : selected papers from the sixth Australian History and Film Conference and other sources, National Film & Sound Archive, Canberra, A.C.T., pp. 151-158.
Verhoeven, D 1995, 'The film I would like to make : in search of a cinema (1927-1970)' in Sabine, J (ed), A century of Australian cinema, Mandarin, Melbourne, Vic., pp. 130-153.
Verhoeven, D 1994, 'Deb Verhoeven : Melbourne film critic, academic, footy fan' in Nankervis, B (ed), Boys and balls, Allen and Unwin, Sydney, N.S.W., pp. 119-123.
Verhoeven, D 1994, 'In a world full of caterpillars, it takes balls to be a butterfly' in Persona cognita, Museum of Modern Art at Heide, Melbourne, Vic., pp. 29-34.
Verhoeven, D 1993, 'Biting the hand that breeds : the trials of Tracey Wigginton' in Birch, H (ed), Moving targets : women, murder and representation, Virago, London, England, pp. 95-126.
Verhoeven, D 1993, 'Great moments in mutual mastication' in Bennett, D (ed), Cultural studies : pluralism and theory, University of Melbourne, Education Department, Melbourne, Vic., pp. 272-280.
Coate, B, Verhoeven, D, Palmer, SR & Arrowsmith, C 2016, 'Using big cultural data to understand diversity and reciprocity in the global flow of contemporary cinema', Proceedings of the international symposium on the measurement of digital cultural products, Measurement of Digital Cultural Products. International Symposium (2016 : Montreal, Canada), UNESCO Institute for Statistics, Montreal, Canada, pp. 141-151.
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.
Palmer, SR & Verhoeven, D 2016, 'Crowdfunding academic researchers – the importance of academic social media profiles', ECSM 2016: Proceedings of the 3rd European Conference on Social Media, Social Media. European Conference (3rd : 2016 : Caen, France), Academic Conferences and Publishing International, Caen, France, pp. 291-299.
Traditionally, the main source of funding for university research comes from either private or government grants. Grant schemes are usually highly competitive with low success rates, favour experienced or senior researchers and take considerable time to be processed thereby delaying potential discoveries. In December 2012 pozible.com and Deakin University agreed to create an opportunity for the community funding of Australian university research. Research My World launched to the public in May 2013 with eight campaigns spanning a range of academic discipline areas and project types. Subsequent project cycles have occurred at approximately six monthly intervals and the program was expanded to include research bids from other universities and research centres. As of mid-November 2015, 19 successful research crowdfunding projects have raised more than more than AU$185,000 in funding at Deakin University alone. This paper presents the results of a research investigation into the Research My World crowdfunding initiative. We detail the method developed for the collection and visualisation of social media data related to the research crowdfunding projects, the analysis of the links between social media activity and project success, and the general guidance for future project cycles that we derived from this analysis.
Verhoeven, DK & Burrows, T 2016, 'Libraries and the digital humanities: partnership, collaboration and shared agendas', VALA 2016 : Proceedings of the Victorian Association for Library Automation Biennial Conference and Exhibition, Victorian Association for Library Automation. Conference (2016 : Melbourne, Victoria), Victorian Association for Library Automation, Melbourne, Victoria, pp. 1-15.
Digital humanities is a rapidly growing global interdisciplinary field, reflected in a proliferation of conferences, events, journals, associations, research centres, grants, and courses. Digital humanities has a high profile because of its collaborative activity in building tools, developing services, carrying out projects, and producing ground- breaking research findings. There is a high level of interest from the library community in the digital humanities. This paper looks at the relationship between libraries and the digital humanities from an Australian perspective. The paper draws on the authors' involvement within the digital humanities community, and especially their experience with developing HuNI: the Humanities Networked Infrastructure, a major digital infrastructure service for the humanities.
Verhoeven, DK 2015, 'Be more than binary', DH 2015 : Proceedings of the Digital Humanities Conference, Digital Humanities. Conference (2015 : Sydney, New South Wales), [The Conference], Sydney, New South Wales, pp. 1-1.View/Download from: Publisher's site
Verhoeven, DK & Burrows, T 2015, 'Aggregating cultural heritage data for research use: The humanities networked infrastructure (HuNI)', MSSR 2015 : Proceedings of the Metdata and Semantics Research 2015 Conference, Metadata and Semantics Research. Conference (9th : 2015 : Manchester, Eng.), Springer, Manchester, Eng., pp. 417-423.
This paper looks at the Humanities Networked Infrastructure (HuNI), a service which aggregates data from thirty Australian data sources and makes them available for use by researchers across the humanities and creative arts. We discuss the methods used by HuNI to aggregate data, as well as the conceptual framework which has shaped the design of HuNI's Data Model around six core entity types. Two of the key functions available to users of HuNI – building collections and creating links – are discussed, together with their design rationale.
Arrowsmith, C, Verhoeven, D, Davidson, A & Coate, B 2014, 'Kinomatics: a global study into cinema data', Proceedings of the 3rd CEUR Workshop on Geospatial Science Research, Geospatial Science Research Symposium (2014: Melbourne, Vic.), CEUR Workshop Proceedings, Melbourne, Vic., pp. 1-8.
This paper describes a creative industries research project that has applied quantitative approaches commonly used in scientific research to the study of international cinema performance. Using film screening data collected over a two year period, this paper discusses analysis of a global dataset using Appadurai's "-scapes" framework. We have identified several of these "-scapes" that help us investigate film industry behaviour. Concentrating on Appadurai's "Technoscape" an investigation into the geographic spread and distribution of a new and emerging technology, High Frame Rate cinema, has been made. HFR films have screened around the world to mixed reviews. Geographic distribution of HFR technologies and change in this distribution has also been uneven.
Avital, M, Andersson, M, Nickerson, J, Sundararajan, A, Van Alstyne, M & Verhoeven, D 2014, 'The collaborative economy: a disruptive innovation or much ado about nothing?', Proceedings of the 35th International Conference on Information Systems; ICIS 2014, International Conference on Information Systems (35th: 2014: Auckland, New Zealand), Association for Information Systems. AIS Electronic Library (AISeL), Auckland, New Zealand, pp. 1-7.
An economy based on the exchange of capital, assets and services between individuals has grown significantly, spurred by proliferation of internet-based platforms that allow people to share underutilized resources and trade with reasonably low transaction costs. The movement toward this economy of 'sharing' translates into market efficiencies that bear new products, reframe established services, have positive environmental effects, and may generate overall economic growth. This emerging paradigm, entitled the collaborative economy, is disruptive to the conventional company-driven economic paradigm as evidenced by the large number of peer-to-peer based services that have captured impressive market shares sectors ranging from transportation and hospitality to banking and risk capital. The panel explores economic, social, and technological implications of the collaborative economy, how digital technologies enable it, and how the massive sociotechnical systems embodied in these new peer platforms may evolve in response to the market and social forces that drive this emerging ecosystem.
Owen, S, Verhoeven, D, Horn, A & Robertson, S 2014, 'Collaboration success in the dataverse: libraries as digital humanities research partners', IATUL 2014 : Proceedings of the 35th Annual International Association of Scientific and Technological University Libraries Conference, International Association of Scientific and Technological University Libraries. Conference (35th : 2014 : Espoo, Finland), IATUL, Espoo, Finland, pp. 1-9.
Verhoeven, DK & Burrows, T 2014, 'Linking and sharing data in the humanities and creative arts: building the HuNI Virtual Laboratory', VALA 2010 : connections.content.conversations : conference programme and handbook, Victorian Association for Library Automation. Conference (15th : 2010 : Melbourne, Vic.), Victorian Association for Library Automation (VALA), Melbourne, Vic., pp. 1-11.
The Humanities Networked Infrastructure (HuNI) is one of the national Virtual Laboratories that are being developed as part of the Australian government's National e-Research Collaboration Tools and Resources (NeCTAR) programme. This paper examines the methodologies and technical architecture being deployed by HuNI to link and share Australian data in the humanities and creative arts.
Verhoeven, D 2012, 'New cinema history and the computational turn', WCCA 2012 : 'Beyond Art, Beyond Humanities, Beyond Technology : A New Creativity', World Congress of Communication and the Arts Conference Proceedings, World Congress on Communication and the Arts (2012 : Guimarães, Portugal), COPEC – Science and Education Research Council, Guimarães, Portugal.
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 unspoken assumptions and ordinary practices of conventional film studies research? And how might the 'computational turn' present opportunities (and challenges) for a revisionist cinema history at the intersection of qualitative historiographies (focussed on the social experience of the cinema) and quantitative research approaches such as data mining, empirical analysis and digital visualisations?
Verhoeven, D & Morris, B 2012, 'Second city syndrome : media reportage of urban rankings', Proceedings of the 2012 Evaluation in the Media conference, Evaluation in the Media. Conference (2012 : Paris, France), Centre national de la recherche scientifique (CNRS), Institut de la communication du CNRS (ISCC), Paris, France.
This paper investigates the popularly reported phenomenon of city rankings and, in particular, the category of the ‘second city’ that regularly features as part of this prolific evaluative discourse. Our paper proposes that the category ‘second city’ has a specific analytical value that has to date been underestimated in academic accounts (particularly in the confusing, interchangeable use of ‘second-tier’, ‘secondary’ and ‘second cities’ in the dominant urban studies literature). Instead, we are interested in how second city identifications permeate popular forms of urban comparison in some places.The example of Melbourne (Australia) is used to investigate how second city identities are historically sustained through evaluative media representations. In particular we examine how, through their reportage of various world city rankings, metropolitan newspapers reveal and articulate a ‘second city consciousness’. How do media institutions, and more specifically, media reports, frame these urban rankings in such a way to confirm Melbourne’s similarity to other globalised places (i.e. proposing its status as a ‘world city’), yet also as a city also marked by a particular historical specificity? And how do they draw on already existing popular and political traditions of urban comparison? This article will identify and analyse the role of newspapers in perpetuating both formal and informal urban comparisons.
Arrowsmith, C & Verhoeven, D 2011, 'Visual methods for showing cinema circuits at varying temporal and spatial scales', Proceedings of the 2011 Geospatial Science Research_1 Symposium, Geospatial Science Research_1 Symposium (2011 : Melbourne, Vic.), RMIT, Melbourne, Vic., pp. 1-15.
Brandum, D, Verhoeven, D & Coate, B 2009, 'Wagging a long thin tail : the economic imperatives of the roadshow release strategy', SERG 2009 : Proceedings of 2nd Screen Economics Research Group 2009 Symposium, Screen Economics Research Group. Symposium (2nd : 2009 : Sydney, N.S.W.), Screen Economics Research Group, Sydney, N.S.W., pp. 1-1.
Verhoeven, D 2008, 'Rethinking philosophies of cinema-going', FHAANZ 2008 : Proceedings of the XIVth Biennial Conference of the Film and History Association of Australia and New Zealand : Remapping Cinema, Remaking History, Conference of the Film and History Association of Australia and New Zealand (14th : 2008 : Dunedin, N.Z.), University of Otago, Department of Media, Film and Communication, Dunedin, N.Z..
Verhoeven, D & Bowery-Ireland, B 2005, 'Return on investment : a paradigm shift for personal coaching', Cross-disciplinary perspectives : Proceedings if the Second Australian Conference on Evidence-Based Coaching, University of Sydney, October 8-9, Australian Conference on Evidence-Based Coaching (2nd : 2005 : Sydney, New South Wales), University of Sydney, University of Sydney, N.S.W..
Verhoeven, D & Morris, B 2004, 'Performing urban rivalry : the cultural politics of first and second cities', The passionate city : an international symposium, Passionate City: An International Symposium (2004 : Melbourne, Vic.), School of Applied Communication, RMIT University, Melbourne, Vic., pp. 27-35.
Verhoeven, D, Palmer, S, Seitzinger, J & Randall, M Deakin University 2013, Research my world: crowdfunding research pilot project evaluation, Burwood, Melbourne.
Report evaluating the pilot project Research My World: a collaboration between pozible.com and Deakin University to crowdfund Australian research
Verhoeven, D & Edmonson, R Archive Forum 2004, Cinderella betrayed : the shoe won't fit : a response by Archive Forum to the Australian Film Commission's Stage two directions paper concerning the AFC-ScreenSound Australia integration, Melbourne, Vic..
Verhoeven, D Department of Communication Studies 2001, Education opportunities in Hong Kong : Report to Department of Communication Studies, [Melbourne, Vic.].
Verhoeven, D Cinemedia 1997, Collection strategies for the access library. Report on collection priorities, Melbourne, Vic..
Verhoeven, D City of Maribyrnong and Victoria University 1996, Feasibility report on an Asian film festival for Melbourne's West, Melbourne, Vic..
Verhoeven, D Film Victoria 1994, Biting the billet : report to Film Victoria on revitalising the Victorian film industries, Melbourne, Vic..
Verhoeven, D Monash University 1992, Education on a roll : Report to Monash University on opportunities in Indonesia, Melbourne, Vic..
Verhoeven, D & Coate, B 2016, 'WOULD YOU LIKE SOMETHING ELSE WITH THAT?', Inside Film, Sydney, pp. 10-11.
Eltham, B & Verhoeven, DK 2015, 'Philosophy vs evidence is no way to orchestrate cultural policy', Conversation Media Group, [Melbourne, Vic.], pp. 1-1.
Burrows, T & Verhoeven, D 2014, 'Digital Scholarship in the Humanities and Creative Arts: The HuNI Virtual Laboratory', Educause, Perth, Western Australia, pp. 1-9.
Coate, B & Verhoeven, D 2014, 'Only at the movies? Home truths about cinema ticket pricing.', The Conversation, Australia - online, pp. 1-1.
Verhoeven, D 2014, 'Big data at the movies: the Kinomatics project', The conversation, Melbourne, Vic, pp. 1-4.
Verhoeven, D & Morris, B 2014, 'Rankings fever : Melbourne goes over the top – again', The conversation, Australia - online, pp. 1-4.
Verhoeven, D, de Costa, V & de Costa, J 2014, 'HuNI: Helping humanities researchers get lucky', Deb Verhoeven, Melbourne, Vic..
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
Verhoeven, DK & Burrows, T 2014, 'Crowdsourcing for serendipity', The Australian, Sydney, NSW, pp. 1-3.
Verhoeven, D & Astheimer, L 2013, 'Short on grant money? Five tips for crowdfunding success', Conversation Media Group, Melbourne, Vic., pp. 1-4.
Verhoeven, D 1994, 'Don Juans of the Cold War : Review of Tony Curtis : The autobiography and Sean Connery : Neither shaken nor stirred by Andrew Rule', Fairfax, Melbourne, Vic., pp. 8-8.
Verhoeven, D 1994, 'Federico Fellini, Public sinner : Review of Fellini by John Baxter', Fairfax, Melbourne, Vic., pp. 9-9.
Verhoeven, D 1994, 'Joan's guide to wrinkle control : Review of My secrets by Joan Collins', Fairfax, Melbourne, Vic., pp. 9-9.
Verhoeven, D 1994, 'Soft focus on Hollywood : Review of a woman's view by Jeanine Basinger', Fairfax, Melbourne, Vic., pp. 7-7.
Verhoeven, D 1993, 'Diamonds on the soles of their shoes : Review of Vested interests by Marjorie Garber', Fairfax, Melbourne, Vic., pp. 6-6.
Verhoeven, D 1993, 'Madonna - the intellectual appeal : Review of Cathy Schwichtenberg (ed) The Madonna Connection', Fairfax, Melbourne, Vic., pp. 9-9.
Verhoeven, D 1993, 'Mistress of the multiple entendre : Review of Dietrich by Donald Spoto', Fairfax, Melbourne, Vic., pp. 9-9.