Deb Verhoeven Deb Verhoeven i(A96277 works by)
Gender: Female
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Works By

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1 Feature Film Diversity on Australian Cinema Screens : Implications for Cultural Diversity Studies Using Big Data Bronwyn Coate , Deb Verhoeven , Colin Arrowsmith , Vejune Zemaityte , 2018 single work criticism
— Appears in: Australian Screen in the 2000s 2018; (p. 341-360) Examines the increase in the number of Australian film released annually, and considers what this means in terms of diversity (as opposed to variety).
1 Honey, I Hid the Kids : Australia’s Screen Industry Is Letting down Carers Sheree Gregory , Deb Verhoeven , 2018 single work column
— Appears in: The Conversation , 12 October 2018;

'Women in Australia’s screen industry are finding it difficult to juggle their working lives with their caring roles, according to our study released today.' (Introduction)
1 Women Aren’t the Problem in the Film Industry, Men Are Deb Verhoeven , Stuart Palmer , 2016 single work column
— Appears in: The Conversation , 15 November 2016; 'This week Australia’s screen producers will gather at their annual conference to discuss the state of the industry. One of the many hot topics under review is the federal government’s recent attempt to address the industry’s woeful gender equity record. ...'
1 Australian Films at Large : Expanding the Evidence about Australian Cinema Performance Deb Verhoeven , Alwyn Davidson , Bronwyn Coate , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , January vol. 9 no. 1 2015; (p. 7-20) '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.' (Publication abstract)
1 Melbourne on Film Dossier Adrian Danks , Stephen Gaunson , Deb Verhoeven , David Nichols , Federico Passi , Jake Wilson , Ben Goldsmith , 2011 selected work criticism
— Appears in: Senses of Cinema , 23 June no. 59 2011; 'To coincide with the 2011 Melbourne International Film Festival (MIFF), Senses of Cinema has commissioned a series of articles to accompany the "Melbourne on Film" season curated by the festival to help mark its 60th anniversary. These articles take a variety of approaches to the filmic representation of Melbourne over the last 60 years (and beyond), and range from analyses of large-scale international productions produced in the 1950s (the seminal On the Beach) and the 2000s (the not so seminal Ghost Rider) to a series of fascinating short documentaries that help chart shifting visions of and attitudes towards the city. These articles engage intimately with specific films being shown in the season (Malcolm Wallhead's The Cleaners, Robin Boyd and Peter McIntryre's Your House and Mine, John Dunkley-Smith's Flinders Street, Colin Dean's extraordinary documentary-musical Melbourne Wedding Bell), help chart the city's continuities and changes across MIFF's tenure, and provide a conceptual, philosophical, spatial, architectural and cinematic framework to place this work within. In the process, they provide a fascinating rejoinder to Ava Gardner's infamous (and probably apocryphal) ode to Melbourne while making On the Beach: "I'm here to make a film about the end of the world... and this seems to be exactly the right place for it."' (Editor's abstract)
1 Screen Adaptations in the AFI Research Collection Deb Verhoeven , Alex Gionfriddo , 2009 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 3 no. 3 2009; (p. 325-343)
1 She Would Say That, He's from Melbourne : Fun and Games with Dame Edna and Barry Humphries Deb Verhoeven , Brian Morris , 2009 single work criticism
— Appears in: The Journal of Australian Studies , September vol. 33 no. 3 2009; (p. 317 - 331)
'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.' (p. 317)
1 Patrick White's The Night The Prowler Deb Verhoeven , 2009 single work criticism
— Appears in: Metro Magazine , December no. 163 2009; (p. 74-86) Australian Perspectives Essays 2010; 'An essay is presented on the film "The Night the Prowler," directed by Jim Sharman. It explores why the film does not fit into any of the popular categories of Australian filmmaking in the heady days of the revival. It discusses how its production came to be set up as the movie underlies the connection between cult and art cinema. It analyzes the film's reception wherein not everyone was immune on what it offers.' (Publication abstract)
1 1 y separately published work icon Jane Campion Deb Verhoeven , New York (City) : Routledge Taylor & Francis Group , 2008 Z1786085 2008 single work biography '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.' (Publisher's blurb)
1 Bitter Springs Deb Verhoeven , 2007 single work review
— Appears in: Senses of Cinema , October - December no. 45 2007;
— Review of Bitter Springs W. P. Lipscomb , Monja Danischewsky , Ralph Smart , 1950 single work film/TV
1 y separately published work icon Studies in Australasian Cinema Ian Henderson (editor), Deb Verhoeven (editor), 2007 Bristol : Intellect , 2007- Z1571533 2007 periodical (36 issues) This journal 'engages in critical discussion of cinema from the Australian, New Zealand and Pacific region. Australia, New Zealand and other Pacific regions are home to many indigenous nations and immigrant cultures from all around the world. Studies in Australasian Cinema will maintain an emphasis on this diversity with a special interest in postcolonial politics and contexts. ' Source: /www.intellectbooks.co.uk/ (Sighted 01/09/2009).
1 Twice Born : Dionysos Films and the Establishment of a Greek Film Circuit in Australia Deb Verhoeven , 2007 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 1 no. 3 2007; (p. 275-298)

'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.'

Source: Abstract.
1 y separately published work icon Studies in Australasian Cinema Histories of Cinema-Going vol. 1 no. 3 Deb Verhoeven (editor), 2007 11378880 2007 periodical issue
1 1 y separately published work icon Sheep and the Australian Cinema Deb Verhoeven , Carlton : Melbourne University Publishing , 2006 Z1280812 2006 single work criticism 'The book focuses on two key 'sheep films' The Squatters Daughter (1933) and Bitter Springs (1950). Both movies are concerned with the national project, in which sheep growing and nation building are seamlessly aligned.' Source: Back cover of Sheep and the Australian Cinema (2006).
1 A Notional or a National Cinema? : Thinking (Nothing) of the Australian Sheep Films Deb Verhoeven , 2004 single work criticism
— Appears in: Credits Rolling: Film & History Conference, Canberra Australia 2-5 December 2004 : Selected Papers 2004; (p. 61-71)
1 y separately published work icon Twin Peeks : Australian and New Zealand Feature Films Deb Verhoeven (editor), Melbourne : Damned Publishing , 2000 19974222 2000 anthology criticism

'This is a comprehensive listing of all Australian and New Zealand feature films produced since 1890. It includes essays by recognised authorities on the subject, highlighting contemporary issues in film-making, film analysis and theory.'

Source: Publisher's blurb.
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