Constantine Verevis is the author of Film Remakes (Edinburgh UP, 2006), co-author of Australian Film Theory and Criticism, Vol. I: Critical Positions (Intellect, 2013), and co-editor of Second Takes: Critical Approaches to the Film Sequel (State U of New York P, 2010), After Taste: Cultural Value and the Moving Image (Routledge, 2012), Film Trilogies: New Critical Approaches (Palgrave Macmillan, 2012), Film Remakes, Adaptations and Fan Productions: Remake-Remodel (Palgrave Macmillan, 2012), B Is For Bad Cinema: Aesthetics, Politics and Cultural Value (State U of New York P, 2014), US Independent Film After 1989: Possible Films (Edinburgh UP, 2015), Transnational Television Remakes (Routledge, 2016), Transnational Film Remakes (Edinburgh UP, 2017) and Australian Film Theory and Criticism, Vol. 3: Documents (Intellect, forthcoming 2017).
“[Film Remakes is] a fine work of scholarship, [it] promises to change the way we think about the phenomenon of the remake, and indeed about films, culture and intertextuality. The is the most authoritative, subtle and complex work on the cinematic remake that I have encountered.” —Prof. Lesley Stern (U of California, San Diego)
Constantine’s work moves between a number of disciplinary locations, spanning both film theory and cultural studies, and takes a special interest in film genre, media seriality—film and TV remakes, sequels and trilogies—and adaptation studies. He began his academic training in English, Communications and Cultural Studies at Curtin and Murdoch universities in Perth, Western Australia before he undertook a PhD in cinema studies at La Trobe University, Melbourne. His Deleuze-inflected dissertation sought to understand the relationship between theories of repetition and contemporary film theory, and the legacy of this work can be seen in his contributions to The Deleuze Dictionary (2005; rev. edition 2010), and ongoing interest in cinematic remaking and media seriality.
Since 1996 Constantine has taught film and television studies at Monash University, initially in the Visual Culture program, and (as of 2007) in a dedicated Film and Television Studies program (now Film and Screen Studies in the School of Media, Film and Journalism). A committed instructor, he has coordinated undergraduate, Honours and Masters level coursework units at Monash’s Clayton and Caulfield campuses, including Introduction to film studies, Alternative film and video, Film and television institutions, Australian film and television, Film and television genres, and Contemporary film theory and criticism. He has supervised more than thirty Honours candidates, and supervised eight PhD candidates to completion. He was Head of Film and Television (2008–09) and Deputy Head (Research) in the School of Media, Film and Journalism (2014–16).
Constantine has published widely in the areas of film and cultural studies, and his essays and reviews have appeared in edited collections, and journals such as Antithesis, Australian Studies, Framework, Film Criticism, Film Studies, Hitchcock Annual and Media International Australia. He has also co-edited and contributed to special issues of the journals: Continuum, Studies in Australasian Cinema and Studies in Documentary Film.
He is Associate Editor of several peer-reviewed journals, including: Film Criticism, Screening the Past, Senses of Cinema, Metroand Screen Education. He has co-convened the international conferences Telling Stories (Monash & RMIT, 2006), B for Bad Cinema (Monash, 2009) and Cinema at the End of the World (Monash, 2015), and appeared as invited keynote/plenary speaker at Remake-Remodel conference (University of Gottingen, Germany, 2010), Memory and Mass-media (Trento, Italy, 2010), Media Across Borders (Roehampton U, London, 2012), Bestsellers and Blockbusters (Aalborg U, Denmark, 2013), Popular Seriality (University of Gottingen, Germany, 2013), Bis Repetita Placent?: Remakes, genre and gender (Université du Havre, France, 2014), and Seriality, Seriality, Seriality (Free University, Berlin, 2016).
In June-July 2014, Constantine was Visiting Fellow at John-F.-Kennedy-Institut für Nordamerikastudien, Freie Universität Berlin, where he previewed current work on New Millennial Remakes and Sequels (in preparation).
A recipient of an Australian Research Council, Discovery grant (2007–09), Constantine has worked in recent years (with co-investigators Noel King and Deane Williams) on a project that looks at the development of Australian Film Theory and Criticism in the decade long period 1975–85. Research outcomes include a three-volume set of books, entitled Australian Film Theory and Criticism with Intellect (UK): King, Verevis and Williams, Vol. 1. Critical Positions (2013); King and Williams (eds), Vol 2. Interviews (2014); Verevis and Williams (eds.) Vol. 3: Documents (2017).
Other current projects include the co-authored Australian International Pictures (in preparation, Edinburgh UP), and Remakes and Sequels in the New Millennium (in preparation, Wallflower/Columbia UP).