Constantine Verevis Constantine Verevis i(A145364 works by)
Gender: Male
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1 Kangaroo : The Australian Story Constantine Verevis , 2024 single work criticism
— Appears in: Screen Culture in the Global South : Cinema at the End of the World 2024;
1 2 y separately published work icon Australian Film Theory and Criticism : Documents Deane Williams (editor), Constantine Verevis (editor), Bristol : Intellect , 2018 14922304 2018 selected work criticism

The third part of a three-volume work devoted to mapping the transnational history of Australian film studies, Volume 3: Documents concludes the project by gathering together the documents that were produced during the rise of film studies in Australian academia from 1975 to 1985. Through these sources, we see the development of the particularities of Australian film theory and criticism, its relationship to its international counterparts, the establishment of key positions and the directions in which they develop. Editors Constantine Verevis and Deane Williams here collect key articles, including the works of Paul Willemen, Sam Rohdie, Ross Gibson and Meaghan Morris, among many others. (Intellect)

1 ‘Whose Side Are You On?’ The Slap (2011/2015) Constantine Verevis , 2015 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 29 no. 5 2015; (p. 769-780)
'Based on the best-selling 2008 novel by Christos Tsiolkas, the eight-part Australian television mini-series, The Slap (Matchbox Pictures, 2011), generated widespread local interest when it premiered nationally on ABC1 television. An ensemble drama, The Slap follows the repercussions of a fateful moment at a suburban barbecue in multicultural Melbourne when an angry adult slaps a misbehaving child that is not his own (but who, arguably, may have deserved the slap). Promoted with the tagline ‘whose side are you on?’ each of the eight episodes of the series advances the story from the viewpoint of a different character, in the process allowing barely concealed tensions of class, gender and ethnicity to rise to the surface. Upon the release of the series, Tsiolkas noted the specificity of the drama, stating that its approach to multiculturalism ‘reflected the Australia that we do live in’, but the unique programme format attracted international interest, NBC/Universal announcing that it was set to remake the series in the US with Matchbox Pictures' show runner, Tony Ayres, as a co-executive producer. This essay engages critical frameworks of adaptation and translation studies to interrogate various formats of The Slap. It considers not only the cross-cultural remaking of the Australian mini-series for US television, but also the adaptation of Tsiolkas' high profile novel to ‘quality TV’ – in ABC's description, ‘a bold, provocative television drama series that forensically examines the mores and morality of contemporary middleclass life’ (The Slap, Official ABC website). This analysis consists not only of an interrogation of the industrial situations and narrative strategies of the mini-series, but also – and given that Tsiolkas' novel was heralded locally and internationally as a comment upon contemporary (post-conservative government) Australia – an understanding of its reception contexts.' (Publication abstract)
1 y separately published work icon Australian Film Theory and Criticism : Critical Positions, Volume 1 Noel King , Constantine Verevis , Deane Williams , Bristol : Intellect , 2013 7976501 2013 selected work criticism

'First part of a three volume series on Australian film theory and criticism, this book includes a preface by Patrice Petro. It outlines the historical implications and future possibilities of establishing new directions of inquiry for film studies both in Australia and internationally. This three-volume project seeks to provide a map of the local and international flows of Australian film theory and criticism. Volume 1 focuses on 1975-1985, a formative period for the discipline of film studies in Australia. Tracing critical positions, people, and institutions across this influential period, the authors examine a multitude of books and journal articles published in Australia and distributed internationally. At the same time, they offer important insights about the origins of Australian film theory and its relationship to such related disciplines as English, art history, and cultural studies. Ultimately, "Australian Film Theory and Criticism, Volume 1" delineates the historical implications - and reveals the future possibilities - of establishing new directions of inquiry for film studies in Australia and internationally.' (Publication summary)

1 Dead on Arrival : The Fate of Australian Film Noir Constantine Verevis , 2010 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 3 2010; (p. 243-253)

'In the late 1960s, producer-entrepreneur Reg Goldsworthy brought American television director Eddie Davis to Australia to make three feature films, It Takes All Kinds (1969), Color Me Dead (1969) and That Lady from Peking (1970). The second of these, Color Me Dead, was a direct (credited) remake of the film noir classic D.O.A. (Maté, 1949). Discarding the flashback structure of the original, Color Me Dead begins with an atmospheric night-sequence, but soon settles into a routine (if convoluted) thriller in which the poisoned protagonist attempts to track down his own killer. While the Davis version closely follows the dialogue and plot of Maté's film, the form and style of the Australian remake owes less to its precursor than it does to post-classical noirs (Harper, 1966; The Detective, 1968; Lady in Cement, 1968), and television noir (Dragnet, 1951–1959; Naked City, 1958– 1963; The Fugitive, 1963–1967). This article looks at the antipodean, cultural remaking of D.O.A., historically situated midway between its classic original (1949) and its second, neo-noir remaking, D.O.A. (Morton and Jankel, 1988). The remake's television aesthetic (and US cable release) adds weight to the suggestion that, through the 1960s, the noir of the classic sensibility was kept alive mainly through television series.'

Source: Publisher's blurb.

1 y separately published work icon Studies in Australasian Cinema Australian International Pictures vol. 4 no. 3 Adrian Danks (editor), Constantine Verevis (editor), 2010 11379189 2010 periodical issue
1 Untitled Constantine Verevis , 2000 single work review
— Appears in: Senses of Cinema , September-October no. 9 2000;

— Review of Zombie Brigade Barrie Pattison , Carmelo Musca , 1986 single work film/TV
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