2024

Moore, P. S. (2024, in press). Paramount Pictures, National Advertising Agencies, and the Conspicuous Distribution of First-Run Feature Films in the United States. In C. Keil & R. J. King (Eds.), Oxford Handbook of Silent Cinema. Oxford: Oxford University Press.

2023

Burrows, T., & Verhoeven, D. (2023). Serendipity and Knowledge Organisation. In Serendipity Science: An Emerging Field and its Methods (pp. 31-48). Cham: Springer International Publishing.

Jones, P., & Gulam, J. (2023). A critical quantitative analysis of race and representation in the Fast Saga Films. In Full-Throttle Franchise: The Culture, Business and Politics of Fast & Furious. London: Bloomsbury.

Künemund, J., & Loist, S. (2023). Back to the Future: German Queer Cinema since 2000. In A. Inzerillo (Ed.), Atlas of Contemporary Queer Cinema | Atlante del Cinema Queer Contemporaneo: Europe 2000-2020 (pp. 109–146). Meltemi. // Künemund, J., & Loist, S. (2023). Ritorno al futuro: il cinema queer tedesco dal 2000. In A. Inzerillo (Ed.), Atlas of Contemporary Queer Cinema | Atlante del Cinema Queer Contemporaneo: Europe 2000-2020 (pp. 111–151). Meltemi. Traduzione di Tommaso Isabella.

Loist, S. (2023). Queere Filmkultur: Produktionsformen und Infrastruktur. In Handbuch Medien und Geschlecht: Perspektiven und Befunde der feministischen Kommunikations-und Medienforschung (pp. 585-593). Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-20707-6_62

Moore, P.S., Whitehead, J. (2023, in press). Movie-going in Stereoscope: Film Advertising in Diasporic Communities in Urban Canada. In eds., Yu & Ahadi, Ethnic Media in Canada. McGill-Queen’s University Press.

Prommer, E., & Loist, S. (2023). Filmindustrie: Branchenkultur mit Gender Bias. In J. Dorer, B. Geiger, B. Hipfl, & V. Ratković (Eds.), Handbuch Medien und Geschlecht: Perspektiven und Befunde der feministischen Kommunikations- und Medienforschung (pp. 571–584). Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-20707-6_28

Ehrich, M. E., Thiele, F., Loist, S., & Prommer, E. (2023). Netzwerke der Ungleichheit: Kodieren von Geschlecht und Ethnizität im Distributionsnetzwerk der Filmindustrie. In S. Stollfuß, L. Niebling, & F. Raczkowski (Eds.), Handbuch Digitale Medien und Methoden (pp. 1–24). Springer VS. https://doi.org/10.1007/978-3-658-36629-2_11-1

Loist, S. (2023). Stopping the flow: Film circulation in the festival ecosystem at a moment of disruption. In Rethinking film festivals in the pandemic era and after (pp. 17-40). Cham: Springer.

2022

Loist, S. (2022). Filmfestivals und Identität: Oder: Was haben queere und jüdische Filmfestivals miteinander zu tun? In L. Wohl von Haselberg & L. A. Pizaña Pérez (Eds.), Jüdischer Film: Ein neues Forschungsfeld im deutschsprachigen Raum (pp. 291–305). Munich: edition text + kritik. https://doi.org/10.5771/9783967077223-291

Moore, P. S. (2022). Narrative Cinema as a Separate Attraction: Archie L. Shepard’s Newspaper Publicity. In M. Slugan and D. Biltereyst (Eds.) New Perspectives on Early Cinema History: Concepts, Approaches, Audiences. Bloomsbury, 167-192.

Moore, P.S., Gabriele, S. (2022) The Sunday Paper: A Media History. University of Illinois.

Taylor, S., and Homan, S.. (2022). Australian Popular Music Policy. In The Bloomsbury Handbook of Popular Music Policy. Bloomsbury Publishing.

2021

Gregory, S., & Verhoeven, D. (2021). Inequality, invisibility, and inflexibility. In S. Liddy & A. O’Brien (Eds.), Media Work, Mothers and Motherhood. London: Routeledge. https://doi.org/10.4324/9781003082552

Hogan, M. & Verhoeven, D. (2021). Sustainable DNA. In C. Miya, O. Rossier, & G. Rockwell (Eds.), Right Research: Modelling Sustainable Research Practices in the Anthropocene. Cambridge, UK: Open Book Publishers. DOI: 10.11647/OBP.0213

Moore, P. S., Whitehead, J., & Pelletier, L. (2021). The Girl Friend in Canada: Ray Lewis and Canadian Moving Picture Digest. In D. Biltereyst & L. van de Vijver (Eds.), Mapping Movie Magazines. Palgrave Macmillan.

Wagenfeld, F. & Verhoeven, D. (2021). International Feature Film Co-Productions Between Australia and Germany: An Australian Perspective. In I. Herrschner, K. Stevens, B. Nickl (Eds.),  Transnational German Cinema: Encountering Germany Through Film and Events. Switzerland: Springer.

Whitehead, J.L., Moore, P.S. (2021). Cinema Paradiso: Toronto’s Italian Language Cinemas and Distribution Networks. In R. Calabretta-Sajder & A.J. Gravano (Eds.), Italian Americans on Screen: Challenging the Past, Re-Theorizing the Future. Maryland: The Rowman & Littlefield Publishing Group Inc.

2020

Loist, S. (2020). Film Festival Research Workshops: Debates on Methodology. In A. Vallejo & E. Winton (Eds.), Documentary Film Festivals Vol. 1: Methods, History, Politics. Vol. 1 (pp. 41–52). Palgrave Macmillan; Springer. https://doi.org/10.1007/978-3-030-17320-3_4

Moore, P. S., & Whitehead, J. (2020, in press). Cinema Paradiso: Toronto’s Italian-Language Cinemas and Distribution Networks. In A. Gravano & R. Calabretta-Sajder (Eds.), Italian-Americans on Screen. Rutgers.

Moore, P. S., Whitehead, J., & Pelletier, L. (2020, in press). The Girl Friend in Canada: Ray Lewis and Canadian Moving Picture Digest. In D. Biltereyst & L. van de Vijver (Eds.), Mapping Movie Magazines. Palgrave Macmillan.

Prommer, E., & Loist, S. (2020). Where are the Female Creatives? The Status Quo of the German Screen Industry. In S. Liddy (Ed.), Women in the International Film Industry: Policy, Practice and Power (pp. 43–60). Palgrave Macmillan.

Taylor, S. (2020). Making it: The Ears, INXS, and Music Scene Restructuring as Seen Through Dogs in Space. In D. Nicols & S. Perillo (Eds.), Urban Australia and Post-Punk. (pp. 175-208). Melbourne: Palgrave Macmillan.

Verhoeven, D. (2020). Film, video, DVD and online delivery. In The media and communications in Australia (pp. 151-171). Routledge.

2019

Brandum, D., Coate, B., & Verhoeven, D. (2019). When Distributors’ Trash Becomes Exhibitors’ Treasure: Rethinking Film Success and Failure. In D. Biltereyst, R. Maltby, & P. Meers (Eds.), The Routledge Companion to New Cinema History, pp. 187–197. London and New York, NY: Routledge.

Coate, B., & Verhoeven, D. (2019). Show Me the Data! Uncovering the Evidence in Screen Media Industry Research. In L. Patti (Ed.), Writing about Screen Media, pp. 173–176. London and New York: Routledge. https://doi.org/10.4324/9780815393924

Moore, P. S. (2019) “It Pays to Plan ‘em”: The Newspaper Movie Directory and the Paternal Logic of Mass Consumption, In D. Biltereyst, R. Maltby, & P. Meers (Eds.), The Routledge Companion to New Cinema History, pp. 365-377. London and New York, NY: Routledge. https://doi.org/10.4324/9781315666051-36

Eichner, S., Kaptan, Y., Prommer, E., & Yurtaeva‐Martens, Y. (2019). New Media and Audience Behavior. In K. Arnold, P. Preston, & S. Kinnebrock (Eds.), The Handbook of European Communication History, 1st ed., pp. 385–402. Wiley Blackwell. https://doi.org/10.1002/9781119161783.ch21

2018

Mayer, V. A., Press, A., Verhoeven, D., & Sterne, J. (2018). How Do We Intervene in the Stubborn Persistence of Patriarchy in Communication Scholarship? In A. Shaw & D. T. Scott (Eds.), Interventions: Communication Theory and Practice. Peter Lang Publishers, New York. https://doi.org/10.3726/b13081

Moore, P. S. (2018). A ‘Distant Reading’ of the ‘Chaser Theory’: Local Views and the Digital Generation of New Cinema History. In A. Gaudreault & S. Hidalgo (Eds.), Technology and Film Scholarship. Experience, Study, Theory, pp. 169–192. Amsterdam, Amsterdam University Press.

Moore, P. S. (2018b). Spaces In-Between: The Railway and Early Cinema in Rural, Western Canada. In D. Treveri Gennari, D. Hipkins, & C. O’Rawe (Eds.), Rural Cinema Exhibition and Audiences in a Global Context, pp. 73–89. Palgrave. https://doi.org/10.1007/978-3-319-66344-9

Prommer, E. (2018). Kinopublikumsforschung. In A. Geimer, C. Heinze, & R. Winter (Eds.), Handbuch Filmsoziologie, pp. 1–17. Wiesbaden: Springer VS. https://doi.org/10.1007/978-3-658-10947-9_33-1

Verhoeven, D. (2018). Be More Than Binary. In E. M. Losh & J. Wernimont (Eds.), Bodies of Information, p. 71. Minneapolis, MN and London: University of Minnesota Press.

2017

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 M. D. Ryan & B. Goldsmith (Eds.), Australian Screen in the 2000s, pp. 341–360. Cham, Springer International. https://doi.org/10.1007/978-3-319-48299-6_16

Coles, A. L., & MacNeill, K. (2017). Policy Ecologies, Gender, Work, and Regulation Distance in Film and TV Production. In D. Peetz & G. Murray (Eds.), Women, Labor Segmentation and Regulation, pp. 211–231. New York, Palgrave MacMillan. https://doi.org/10.1057/978-1-137-55495-6_12

2016

Loist, S. (2016). The Film Festival Circuit: Networks, Hierarchies, and Circulation. In M. de Valck, B. Kredell, & S. Loist (Eds.), Film Festivals, pp. 49–64. London, Routledge. https://doi.org/10.4324/9781315637167

Prommer, E. (2016). Das Kinopublikum im Wandel: Forschungsstand, historischer Rückblick und Ausblick. In P. Glogner-Pilz & P. S. Föhl (Eds.), Handbuch Kulturpublikum, pp. 329–366. Wiesbaden: Springer VS. https://doi.org/10.1007/978-3-531-18995-6_10

Verhoeven, D. (2016). Show Me the History! Big Data Goes to the Movies. In C. R. Acland & E. Hoyt (Eds.), The Arclight Guidebook to Media History and the Digital Humanities, pp. 165–183. Sussex, England: REFRAME and Reframe Books in association with Project Arclight.

2015

Verhoeven, D., & Palmer, S. (2015). Because it Takes a Village to Fund the Answers: Crowdfunding University Research. In L. Bennett, B. Chin, & B. Jones (Eds.), Crowdfunding the Future, pp. 133–156. Bern, Peter Lang. https://doi.org/10.3726/978-1-4539-1546-2

2014

Eichner, S., & Prommer, E. (2014). Fernsehen: Vom Babelsberger Modell zu Doing Media. In S. Eichner & E. Prommer (Eds.), Fernsehen: Europäische Perspektiven, pp. 9–19. Konstanz: UVK.

Musial, K. (2014). Research Designs for Social Network Analysis. In R. Alhajj & J. Rokne (Eds.), Encyclopedia of Social Network Analysis and Mining, pp. 1578–1582. New York, Springer. https://doi.org/10.1007/978-1-4939-7131-2_246

Prommer, E., Görland, S., & Räder, A. (2014). Kinobesuch, Jugend und Streaming: Substitution oder More and More? In J. Brachmann, C. Lübcke, & A. Schwertfeger (Eds.), Jugend: Perspektiven eines sozialwissenschaftlichen Forschungsfeldes, pp. 195–206. Bad Heilbrunn: Klinkhardt.

Ryan, M. D., Goldsmith, B., Cunningham, S., & Verhoeven, D. (2014). The Australian Screen Producer in Transition. In A. Spicer, A. T. McKenna, & C. Meir (Eds.), Beyond the Bottom Line: The Producer in Film and Television Studies, pp. 125–142. New York: Bloomsbury. https://doi.org/10.5040/9781501300202.ch-007

Verhoeven, D. (2014a). Doing the Sheep Good: Facilitating Engagement in Digital Humanities and Creative Arts Research. In P. L. Arthur & K. Bode (Eds.), Advancing Digital Humanities: Research, Theory, Methods, pp. 206–220. London: Palgrave Macmillan. https://doi.org/10.1057/9781137337016_14

Verhoeven, D. (2014b). Film, Video, DVD and Online Distribution. In S. Cunningham & S. Turnbull (Eds.), The Media and Communications in Australia, pp. 151–171. Sydney: Allen & Unwin.

Yates, C., & Coles, A. L. (2014). Party On or Party’s Over? Organized Labour and Canadian Politics. In M. Smith (Ed.), Group Politics and Social Movements in Canada, pp. 32–52. Toronto: University of Toronto Press.

2013

Prommer, E., & Räder, A. (2013). Kinogrenzgänger im geteilten Deutschland (1949-1961): Filmgeschmack, Nutzung und Motive des Kinobesuchs. In M. Wedel, B. Byg, A. Räder, S. Arndt-Briggs, & E. Torner (Eds.), DEFA international: Grenzüberschreitende Filmbeziehungen vor und nach dem Mauerbau, pp. 131–147. Wiesbaden: Springer VS. https://doi.org/10.1007/978-3-531-19076-1

Verhoeven, D., & Arrowsmith, C. (2013). Mapping the Ill Disciplined? Spatial Analyses and Historical Change in the Post-War Film Industry. In J. Hallam & L. Roberts (Eds.), Locating the Moving Image: New Approaches to Film and Place, pp. 106–129. Bloomington, IN: Indiana Univ. Press.

Verhoeven, D. (2013). What Is a Cinema? Death, Closure and the Database. In K. Aveyard & A. Moran (Eds.), Watching Films: New Perspectives on Movie-Going, Exhibition and Reception, pp. 33–51. Bristol: Intellect.

2012

Coles, A. L. (2012). Unions, Gender Equity and Neoconservative Politics. In S. Ross & L. Savage (Eds.), Rethinking the Politics of Labour in Canada, pp. 102–115. Halifax: Fernwood.

2011

Loist, S. (2011). On the Relationships between Film Festivals and Industry. In Y.-K. Lee (Ed.), Busan Cinema Forum: Seeking the Path of Asian Cinema: East Asia, pp. 381–402. Busan: Busan Cinema Forum.

Prommer, E. (2011). Das Kinopublikum im Wandel: Forschungsstand, historischer Rückblick und Ausblick. In P. Glogner-Pilz & P. S. Föhl (Eds.), Das Kulturpublikum, pp. 225–267. Wiesbaden, Springer VS. https://doi.org/10.1007/978-3-531-93297-2

Prommer, E., Jurzik, A., Lang, P., & Syniawa, P. (2011). Der deutsche Kinofilm: Publikum und Image. In T. Schick & T. Ebbrecht (Eds.), Kino in Bewegung, pp. 285–30. Wiesbaden: Springer VS. https://doi.org/10.1007/978-3-531-92804-3_16

Verhoeven, D. (2011). Film Distribution in the Diaspora: Temporality, Community and National Cinema. In R. Maltby, D. Biltereyst, & P. Meers (Eds.), Explorations in New Cinema History: Approaches and Case Studies, pp. 243–260. Malden, MA: Wiley-Blackwell. https://doi.org/10.1002/9781444396416.ch14

2009

Verhoeven, D., Bowles, K., & Arrowsmith, C. (2009). Mapping the Movies: Reflections on the Use of Geospatial Technologies for Historical Cinema Audience Research. In M. Ross, M. Grauer, & B. Freisleben (Eds.), Digital Tools in Media Studies: An Overview, pp. 69–81. Bielefeld and New Brunswick, NJ: transcript. https://doi.org/10.14361/9783839410233-005