Archive by Author

individual holding remote

Streaming Wars: Exclusive content and platform competition in Latin America

Media streaming platforms, such as Amazon Prime Video, Claro Video or Netflix, are finding an increasing need to fight over new subscribers. The competition is extremely tight for online platforms, which forces them to differentiate themselves. One way to achieve this is by offering exclusive content, some of which the platforms even produce themselves. This […]

8O4A3271

Cultural Policy and Cultural Value: A Disconnect? Perspectives from Australia, the Netherlands and the UK

In addition to devastating the arts sector, COVID-19 has made it abundantly clear that Australia’s cultural policy has been long neglected. In place of a cohesive policy framework that recognises the complex ways that culture creates value beyond that which is economic, a patchwork of policy has arisen. Given the policy void and lack of […]

IMG_4028

#GenderMattersFail

At the end of August, Screen Australia released a self-congratulatory media announcement claiming they had exceeded their (admittedly low) target of 25% participation for women in Australian screen production over the preceding three years (based on an industry initiative they called Gender Matters). We’ve been trying to crunch the data about gender in  Australian feature […]

Figure 2. Median box office ratio, screenings ratio, life ratio and delay per genre

Testing the ‘10% Rule’

A research paper “Understanding the dynamics between the United States and Australian film markets: testing the ‘10% rule’” by Kinomatics members Vejune Zemaityte, Deb Verhoeven and Bronwyn Coate has been recently published in the Studies in Australasian Cinema Journal. In this article, we compare Australia and the US as markets for American movies against the […]

Movies by gender

Redistributing Gender

How bad is gender inequality in the global filmindustry? It is much worse than you think. The Kinomatics team have been examining our Showtime Dataset to identify how films directed by women are distributed across the globe. We found that around 15% of new release feature films are directed by women (alone or in teams […]

Screenshot 2018-04-04 12.26.11

Second Kinomatics Symposium

The Second Kinomatics Symposium will be held at UTS on Thursday April 5 and Friday April 6. Join us for any or all of three sessions featuring kinomatics researchers from Australia, Germany and Canada: Session 1 – Culture, Meaning and #datatoo REGISTER Session 2 Workshops – Making Sense of Your Data through Visualizations with Tableau […]

ProducerNetworksMale

The “Gender Offender” analysis: How and Why We Did It (Part Two)

Read Part One of this post here. PART 2. Visualising Male Producer Networks This aspect of the project was undertaken by Stuart Palmer. This data on creative roles in films contains within it the information to describe the networked structure of creative team relationships embodied in the film set analysed. Social network analysis (SNA) provides […]

ProducerNetworks

The “Gender Offender” analysis: How and Why We Did It (Part One)

Introduction Deb Verhoeven Statistics describing the parlous conditions for women in the Australian film industry have been gathered and circulated for more than 30 years. As long as I have worked in and reported on the industry these statistics have barely deviated. In some cases they’ve become marginally worse. Furthermore, their repeated release has given […]

screen-shot-2016-09-15-at-2-06-37-am

An outline for an intersectional feminist Digital Humanities

In September, Deb traveled to KU Leuven to give the opening keynote at a conference on Intersectionality in the Digital Humanities. Her focus was twofold, asking: What can we learn about intersectionality from working with our data and relatedly, What can we learn from intersectionality to understand our data better The presentation was principally concerned […]