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NEWS


SHOWING LAST 10 NEWS ITEMS. SHOW ALL.
Date: 2021-05-24 Posted by: Yuri Tsivian

A new original study has been added to the section "Cinemetrics of Film Style: Case Studies" in the Mesurement Theory tab:

 

"The evolution of form in Andrei Tarkovsky's films" by Filippo Schillaci 

Take a look, it's really interesting as far as its methods and results.


Date: 2021-03-29 Posted by: Yuri Tsivian

 

Good news from China:

I just happened to get a message from Shanghai from Prof. 龙井问茶, who had organized and supervised a crash course in Cinemetrics I taught for 4 weeks at one of Guangzhou universities in 2017. Yang has just translated into Chinese and published two essays on Cinemetrics and reports on the growing demand for more Cinemetrics-related literature and cinemetrics-informed teaching. (He was stopped by Covid on the tracks of organizing a conference in Cinemetrics at the Shanghai Normal University, and will go on if we all live). I paste Yang’s account below—not just to boast (that too), like some kind of Marco Polo, of our outreach, but because we just succeeded in hiring a Chinese student, Kevin Cao, to redsign the FACT tool disable by the demise of Flash software. See below…

 From: 龙井问茶 <57599625@qq.com>
Sent: Monday, March 29, 2021 2:07 AM
To: Yuri Tsivian <ytsivian@uchicago.edu>
Subject: for the permsion of translation and publication of the essay “A Numerate Film History?"

 Dear Yuri, 

I am write to tell you that Cinemetrics has genarated more and more warmly discussions science two of you and Barry Salt’s essays translated in Chinese and published in Contemporary Cinema ( “Cinemetrics, Part of the Humanities’ Cyberinfrastructure”;“Statistical Style Analysis of Motion Pictures”). Some have begun to use Cinemetrics as a tool in their Chinese film studies. But my plan to hold (or co-hold with you) an international conference on Cinemetrics has been delayed by covid-19.

I appreciated you two very much for your generous permission for the translation and publication. I am sure thats the first time for Cinemetrics to appear in Chinese film study journals. Many readers and researchers tell me that they want to know much more about Cinemetrics, some scholars ask me if I can introduce more about it.

Do you remember that last time you mentioned the essay  “A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics,”which I have read many times. Would you please help me get the permission from the authors, including yourself and your wife Daria, for its translation in Chinese and publication in Journal of Guizhou University(Art)? Due to the poor financial status of academic journal, the payments would be poor too. But I would try to pay compensation to the authors in other ways, when I get a chance.

With many thanks and good wishes,

 Yang

Shanghai Normal University, China


Date: 2021-01-04 Posted by: Yuri Tsivian

Dear Cinemetrics users,

Happy New Year to all. I have two news to announce:

The bad news from the past year was that the frame accurate (FACT) Cinemetrics tool became inoperative due to the fact that most of modern-day brousers do not support the "flash" software any more. Now, the good news is, the University of Chicago who hosts Cinemetrics, has procured funds to replace FACT by an updated successor, TACT (Time Accurate Cinemetrics Tool), and has posted a search for a software specialist to build the latter. Here it is

 

Cinemetrics Project

Student Position : Javascript Developer

 General Job Summary

 The Cinemetrics project of the Department of Cinema & Media Studies is seeking a motivated student employee to develop a customized Chrome Extension to record, edit and upload time stamps from browser-based video players into an existing MySQL database.
            Job duties primarily include frontend web programming (Javascript; HTML5, CSS) to implement custom functions in a Chrome Extension to 1) save a current time stamp, 2) provide fine navigation (in units of milliseconds) video controls, and 3) upload the time stamp data to the database.

 Commitment: 10-20 hours per week for up to 10 weeks.

 QUALIFICATIONS

 Required

·       Experience with web-based programming frameworks, including Javascript, HTML5 and CSS

·       Good problem-solving skills

·       Good communication skills

·       The ability to respond quickly and professionally to stakeholders and beta-testers

Desired        

·       Experience handling streamed video content within web-based programming frameworks

·       Experience developing Chrome extensions

·       Experience with web programming for mobile devices and frameworks

·       Experience in Cinema and Media studies

·       Experience with SQL-based backend database systems

·       Familiarity with version control systems such as Github

 

Apply by sending an email with a cover letter and resume to [email]

 


Date: 2020-11-03 Posted by: Yuri Tsivian

 

Cinemetrics is back and working, but do check the News from time to time, there are going to be some major changes in the data gathering/submission functions because, as of December, the Flash software on which our tools are based will no longer be supported by major browsers. More on this later.

Meanwhile, Barry Salt has alerted me today, in the process of rebuilding some of the writings on cinmetrics theory have gone missing.     

This is in the "Measurement Theory" section, under "Dealing with Film data".

 In the sub-section "Taking shot Lengths", your contribution is missing with a 404 Not Found error.

In sub-section "Cinemetrics of Film Style" the Barry Salt section: "How They Cut Dialogue Scenes" is missing.

In sub-section "Uses of Cinemetrics" the Keith Brisson, Mike Baxter, and D.W. Griffith sub-sub-sections are all missing.

In sub-section "Shot Lengths and Psychology", Mike Baxter's "Evolution in Hollywood editing", Barry Salt's "Salt on baxter on cutting", James Cutting's "More on the Evolution...", and Mike Baxter's "Further Comments" are missing.

In sub-section "Film & Statistics", all articles are missing,

and finally, Mike Baxter's "Cinemetric Data Analysis" is missing.

 Barry found this out, he says, because James Cutting makes extensive references to the pieces in the "Shot lengths & Psychology" sub-section in one of his papers on the topic.


Date: 2020-11-02 Posted by: Yuri Tsivian

 

Today is Nov 2, and guess what measurement I found posted to Cinemetrics today? www.cinemetrics.lv/movie.php?movie_ID=27097 The graph is short and sweet, and the subject timely. It'd for this video, take a look https://www.youtube.com/watch?v=BPOYVQhAuto&ab_channel=CNN

As I wrote in the comment, “I am Yuri Tsivian, and I approve this message.”


Date: 2020-06-10 Posted by: Yuri Tsivian

Good news from Barry Salt:

1) free PDFs of his books are now available on the starword.com website.

2) Barry Salt's study "The style of Ingmar Bergman’s films" has been published in The New Review of Film and Television Studies. Here is an excerpt from the abstract:

After a brief summary of Ingmar Bergman’s filmmaking
career and his films, his individual films are analysed in terms of the
characteristics of the shots in them, such as length, closeness of camera, camera
movement, POV, and so on. A simple statistical consideration of all these
quantities enables a new separation of Bergman’s career into three phases
from this perspective, with the film Persona being one of the turning points.
Using a new technique of digital frame analysis, other points emerge regarding
the development of his handling of actor movement and camera movement in
his staging of love scenes, which gives rise to what could be called the Bergman
signature shot.


Date: 2020-05-09 Posted by: Yuri Tsivian

Good news: Database is back and running!


Date: 2020-05-08 Posted by: Yuri Tsivian

This afternoon, the Cinemetrics database stopped responding. This is not unfamiliar: this sometimes occurs due to outages or other problems with the University of Chicago Humanities IT servers. Wait and tell your students to wait till this is fixed (hopefully, soon). While your submissions (if I understand it correctly) reach the database, users are unable to access it. Sorry for the inconvenience!


Date: 2020-05-01 Posted by: Yuri Tsivian

 

 

Dear cinemetricians,

Some news, rather topical I am afraid. Despite (or maybe because) of the international stay-at-home policies, Cinemetrics daily submissions have intensified. Those following the growth of our database may have noticed a new bunch of movie trailers--an interesting and promising research.

Also, I want to report a quick enquiry I made last week about a somewhat mysterious set of data submitted massively a few days ago, with numbers instead of movie titles and no year or other data provided. Fortunately, I could trace the name and email of the submitter (Luke Naylor-Perrott, a young but already award-winning filmmaker and film student), find below what I wrote to him and, below my email, Luke's reply to my email. As Gegel used to say, SIGNS OF THE TIME.

1. MY EMAIL TO LUKE:    

My name is Yuri Tsivian, I am in charge of Cinemetrics, the website designed to measure and store average shot lengths of films. The reason why I am writing is that for the last few day you (or your namesake, or someone using your name) submitted a bunch of data with metadata missing. Each of the submission uses a number (like # 410 and so on), without the year or country of origin indicated for each submission. Some are identified by your name, some by the initials LNP2, e.g. http://www.cinemetrics.lv/movie.php?movie_ID=26028

If this set of data originates with you or someone working in your name, could you kindly give me a quick idea of what these submissions are about, what films they stand for and whatever you’d like me to add for other Cinemetrics users to know what we are dealing with?   

One of the reasons I need to know is that at time the Cinemetrics site is being targeted by cyber-robots generating random meaningless data. If this is the case this time, and a robot is using your name I will instruct the University of Chicago IT people to erase the submissions as false. If it is you indeed, I will post a clarification and whatever you’d want us to know about your project on the website NEWS.Dear Yuri,

 

2. LUKE'S EMAIL TO ME:

Thank you for reaching out, I’m so sorry I caused you trouble - I promise that wasn’t my intention! 

 Firstly, it’s an honour to meet you (albeit electronically) - I have read a number of your articles and you are a big influence on what I am doing at the moment. I’m a Master's Student at the University of Amsterdam and for my thesis I am looking to analyse the formal and aesthetic variety of music videos - your tool is a lifesaver and as you can see I’m using it intensely! 

 An apologia for my strange (bot-like) behaviour on your site. Essentially, my deadline for data collection is the end of this week - however, I am having to do it all over the next few days: my current situation as an international student is somewhat precarious because of Covid19 - I may have to go home suddenly in the next few days, which will cause a lot of disruption, and a number of my relatives are elderly which means that if they do contract it, I doubt I will be in the right headspace to work. All this is to say that I have been using your site at a ridiculous pace and only filling out the bare minimum and a number, which makes searching back for the data as quick as possible (the number refers to my spreadsheet, as seen in the picture attached).

 As part of my plan, once I have finished my analysis and hopefully the pandemic has settled down somewhat, I was intending to comment on each of my submissions with the song name and artist, alongside uploading my thesis onto my website and posting the link with each comment. I am planning to include as an appendix the table of my data and their corresponding numbers for easy access as well. 

 I realise this isn’t the same as posting the metadata straight away, and I am very sorry for any inconvenience caused. I hope, nevertheless, that my thesis will contribute to the world of quantitative film analysis in some small way. 

 Many thanks,

Luke 

Here is a sample of Luke's metadata in Excel

Date: 2020-04-02 Posted by: Yuri Tsivian

 

 

Dear cinemetricians,

Some news, rather topical I am afraid. Despite (or maybe because) of the international stay-at-home policies, Cinemetrics daily submissions have intensified. Those following the growth of our database may have noticed a new bunch of movie trailers--an interesting and promising research.

Also, I want to report a quick enquiry I made last week about a somewhat mysterious set of data submitted massively a few days ago, with numbers instead of movie titles and no year or other data provided. Fortunately, I could trace the name and email of the submitter (Luke Naylor-Perrott, a young but already award-winning filmmaker and film student), find below what I wrote to him and, below my email, Luke's reply to my email. As Gegel used to say, SIGNS OF THE TIME.

1. MY EMAIL TO LUKE:    

My name is Yuri Tsivian, I am in charge of Cinemetrics, the website designed to measure and store average shot lengths of films. The reason why I am writing is that for the last few day you (or your namesake, or someone using your name) submitted a bunch of data with metadata missing. Each of the submission uses a number (like # 410 and so on), without the year or country of origin indicated for each submission. Some are identified by your name, some by the initials LNP2, e.g. http://www.cinemetrics.lv/movie.php?movie_ID=26028

If this set of data originates with you or someone working in your name, could you kindly give me a quick idea of what these submissions are about, what films they stand for and whatever you’d like me to add for other Cinemetrics users to know what we are dealing with?   

One of the reasons I need to know is that at time the Cinemetrics site is being targeted by cyber-robots generating random meaningless data. If this is the case this time, and a robot is using your name I will instruct the University of Chicago IT people to erase the submissions as false. If it is you indeed, I will post a clarification and whatever you’d want us to know about your project on the website NEWS.Dear Yuri,

 

2. LUKE'S EMAIL TO ME:

Thank you for reaching out, I’m so sorry I caused you trouble - I promise that wasn’t my intention! 

 Firstly, it’s an honour to meet you (albeit electronically) - I have read a number of your articles and you are a big influence on what I am doing at the moment. I’m a Master's Student at the University of Amsterdam and for my thesis I am looking to analyse the formal and aesthetic variety of music videos - your tool is a lifesaver and as you can see I’m using it intensely! 

 An apologia for my strange (bot-like) behaviour on your site. Essentially, my deadline for data collection is the end of this week - however, I am having to do it all over the next few days: my current situation as an international student is somewhat precarious because of Covid19 - I may have to go home suddenly in the next few days, which will cause a lot of disruption, and a number of my relatives are elderly which means that if they do contract it, I doubt I will be in the right headspace to work. All this is to say that I have been using your site at a ridiculous pace and only filling out the bare minimum and a number, which makes searching back for the data as quick as possible (the number refers to my spreadsheet, as seen in the picture attached).

 As part of my plan, once I have finished my analysis and hopefully the pandemic has settled down somewhat, I was intending to comment on each of my submissions with the song name and artist, alongside uploading my thesis onto my website and posting the link with each comment. I am planning to include as an appendix the table of my data and their corresponding numbers for easy access as well. 

 I realise this isn’t the same as posting the metadata straight away, and I am very sorry for any inconvenience caused. I hope, nevertheless, that my thesis will contribute to the world of quantitative film analysis in some small way. 

 Many thanks,

Luke 

Here is a sample of Luke's metadata in Excel

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