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Date: 2019-03-10 Posted by: Yuri Tsivian

A sad anniversary last month. Last year at the end of February time Daria Khitrova and I received this email from Hilary Cool, English archeologist, and wife of our mutual friend and collaborator Mike Baxter, Professor Emeritus in Statistical Archaeology at Nottingham Trent University, UK:


“I’m afraid I have to relay some bad news. Mike died suddenly and unexpectedly last Thursday. … I want to let you know how much he enjoyed his forays into cinemetrics in the early days of his retirement and meeting you and Daria through it. He was extremely bored with doing archaeological statistics at that point but after cinemetrics he went back to it refreshed and had something of an annus mirabilis in 2015 doing some really clever modelling work that got published in 2016. He’d just finished writing an account of archaeological problems that had given rise to novel statistical work and took the opportunity in the final part to reflect why he got involved in archaeological statistics and who had influenced his intellectual development. It now has the feel of a valedictory signing off given his death, but he had been planning a couple of new papers.”


The annus mirabilis Hilary refers to is 2014, the year when Mike, Daria and I won a Neubauer Collegium grant for the project “Cinemetrics Across Boundaries: A Collaborative Study of Montage” This was the first time I met Michael in person—even though earlier on, in 2013, Mike, Barry Salt and I had been involved in a three-month online dialogue “Films and Statistics: Give and Take” to be found here:


Barry Salt was the first to whom Daria and I passed on the sad news that Hilary conveyed to us. Here is what Barry wrote back:


“Sorry and a bit sad to hear about Mike Baxter's death. He was a generous person and a real statistician. He was also a real scientist, which does not necessarily follow. I regret that I was not able to ever meet him in person.”


As I said, Daria and I did meet Mike, and were quite impressed. What Barry—a trained statistician—says of Mike became instantly evident when you met him. Mike was a true scientist, more at home among modes, medians and means than in the world of palpable realities, the world he never paid too much attention to—except for (in this order) Hilary, movies, and a glass (or two, as in the picture) of Italian wine. Daria and I were lucky: we came to know Hilary, had more than one glass with her and Mike at their summer abode in Sorrento, and spent enough time analyzing film editing with Mike to get a sense of what statistics can reveal about movies. The three of us had a plan: to write a book titled “A History of Film Editing.” We only managed to write two chapters of it, both published under our three names. One, titled “Exploring Cutting Structure in Film, with Applications to the Films of D. W. Griffith, Mack Sennett, and Charlie Chaplin” appeared in 2015 in Digital Scholarship in the Humanities, see here: ; the other, “A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics” in the French journal Mise au Point, see


Mike was a non-stop worker, appearing at a breakfast table half-awake, wearing his pajamas and already carrying his laptop—a machine trained to convert long numeric tables into beautifully colored scatter plots and trend-lines. It would take some time (worth every minute of it) to compile Mike’s full bibliography. Here are some items close at hand:


n  Video recording of a talk given in Chicago (UofC) in 2014: “Graphical Griffith: Cutting-Patterns in the Films of D.W. Griffith,” see

n  MikeMetrics, Mike Baxter’s website primarily concerned with the quantitative analysis of archaeological data, and with cinemetrics, interpreted here as the statistical analysis of quantifiable data descriptive of the structure of film. See

n  “Evolution in Hollywood editing patterns?” To be found among links available here:

n  “Further comments on evolution in Hollywood film: the role of models” To be found among links available here:

n  “Monograph: Notes on Cinemetric Data Analysis” To be found among links available here:

n  “Cinemetrics – a bibliography.” To be found among links available here:

Date: 2019-01-08 Posted by: Yuri Tsivian

On ongoing projects.

1) A significant number of the cold-war epoch civil defence social guidance films have been recently measured and submitted by K. Gordon, including: 

A is for Atom: 7 ASL 23.2 ; About Fallout: 7 ASL 42.4 ; Atomic Alert: 7 ASL 55.4 ; Duck and Cover: 7 ASL 16.9 ; Fallout When and How to Protect Yourself From It: 7 ASL 16.8 ; Operation Cue: 7 ASL 30.6 ; Our Cities Must Fight: 7 ASL 14.6 ; Radiological Defense: 7 ASL 25.3 ; Self Preservation: 7 ASL 24.3 ; Special Delivery: 7 ASL 27 ; Stay Safe, Stay Strong: 7 ASL 48.2 ; Survival Under Atomic Attack: 7 ASL 15.5 ; The House in the Middle: 7 ; Operation Cue: 7 ASL 246.9 ; Our Cities Must Fight: 7 ASL 71.8 ; Radiological Defense: 7 ASL 82.3.

2) And this is Barry Salt's comment to his recent submissions:
"My Bergman records were part of my research for a paper on his style. This has been accepted for publication by the New Review of Film and Television Studies, and when it actually comes out I will inform you." When Barry informs me I will add the information to the News.

Date: 2019-01-03 Posted by: Yuri Tsivian

HAPPY NEW 2019 to all Cinemetrics users!

Of many news, the most recent are:

1) A series of (nearly 40) submission of (mainly) Bergman's films by Barry Salt, made in November using his signature hand-measured frame-accurate method.

2) A large number of films submitted by a class of students taught by our regular user Radomir Kokes. It's a regular part of his introductory course on film studies analysis at the Masaryk University in Brno, Radomir tells me. Students at the end of the semester measure one or two movies to learn how to perceive the cuts and adopt a program for their later researches (for many of Kokes' former students Cinemetrics was an important part of their BA and MA thesis projects). Then, in the following seminars, they analyze, discuss and explain the editing structures of these films. Radomir also has his own database: I find it very useful - there are not so many overlaps with either our database or with Barry Salt's database available on the Cinemetrics website.

3) Since May 2017, students at Izmir University of Economics under the guidance of Serkan Savk have been creating Cinemetrics data for Turkish films. The data set can be viewed under the Cinemetrics lab "Yesilcam 1960s and 70s." An important group of submissions occurred in October 2018. As Serkan tells me, their intention is developing a distant reading model for Turkish films. Serkan says he will share the initial findings of his study at the ECREA 2018 Conference.

Dear Cinemetricians, do send me your project descriptions if you want them to appear on the News. Have fun in the New Year!

Date: 2017-02-21 Posted by: Yuri Tsivian

News from England: - Barry Salt's STARWORD website, including PDF's of his articles published since 2009, up to last year's The Exact Remake, and nearly all his statistical data, except the Cinemetrics records.

Barry also submitted a number of Swedish movies, using his frame-accurate method: Sommaren med Monika: 7 ASL 23.9 submitted by Barry Salt; Gycklarnas afton: 7 ASL 15.9 submitted by Barry Salt; Skammen: 7 ASL 14.8 submitted by Barry Salt; Smultronstallet: 7 ASL 9.3 submitted by Barry Salt; Nattvardsgasterna: 7 ASL 16.5 submitted by Barry Salt; Sommarlek: 7 ASL 15.8 submitted by Barry Salt;

The Salesman: 7 ASL 5 submitted by Petunia Atlasi;

Artists and Models: 7 ASL 8.5 submitted by Sam Van de Sande; Love in the Afternoon: 7 ASL 17.2 submitted by Sam Van de Sande; Bad and the Beautiful, The: 7 ASL 20.3 submitted by Sam Van de Sande;

Black ish S02E05: 7 ASL 38.1 submitted by mariana stolf;

Pride and Prejudice: 7 ASL 8 submitted by Giovana;

Toy Story: 7 ASL 3.8 submitted by Mohsen Nasrin;

Blackish S02E05: 7 ASL 26.8 submitted by Mariana Stolf; Modern Family: 7 ASL 29.2 ; The middle S03E05: 7 ASL 39.4 submitted by Mariana Stolf;

The Best of Everything: 7 ASL 11.6 ; Pillow Talk: 7 ASL 9.4 submitted by Sam Roggen;

 Vra??dy v literat??re: Od staroveku po realizmus: 7 ASL 5.6 submitted by Veronika Rusn??kov??

Date: 2017-01-07 Posted by: Yuri Tsivian

A memorial dedication to Gunars Civjans, my son and co-founder of Cinemetrics, has now been added to the from page of this website, see here.

From now on, I resume posting news -- roughly, on a monthly basis.

I wish a happier new year to all cinemetrics users.

New films:

Double, The: 7 ASL 4.7 and Grand Budapest Hotel, The: 7 ASL 5 Man Who Knew Too Much, The: 7 ASL 7.3 submitted by Barry Salt using his patent frame-acccurate method;

 schipper naast mathilde: 7 ASL 41.1 callboys: 7 ASL 2.7 submitted by august de meyer; 


cloud atlas: 7 ASL 5.6 submitted by iser elgan;

Iron Man (trailer): 7 ASL 1.1 ; Thor (trailer): 7 ASL 1.9 ; Captain America: The First Avenger (trailer): 7 ASL 1.6 ; Marvel's Avengers (trailer): 7 ASL 1.6 ; Man of Steel (trailer): 7 ASL 3.2 ; Batman v Superman (trailer): 7 ASL 3.9 ; Suicide Squad (trailer): 7 ASL 1.5 submitted by Tom;

Cliffhanger: 7 ASL 3.8 submitted by Jan Susky;

Cliffhanger: 7 ASL 4.1 submitted by Adam Lukuvka;

Quantum of solace (second chase): 7 ASL 0.8 submitted by tedescomb;

Star Trek - Deep Space Nine: Heart of Stone: 7 ASL 5.8 ; Star Trek - Deep Space Nine: Destiny: 7 ASL 5.7 ;  Star Trek - Deep Space Nine: Prophet Motive: 7 ASL 7.9 submitted by Armin Jaeger.

Date: 2016-07-26 Posted by: Yuri Tsivian

Gunārs Civjans (1975-2016)

I have a tragic news to share. My son Gunārs Civjans whom many Cinemetrics users know as our sole software inventor and developer passed away after a sudden two-day illness in Jūrmala, Latvia, on April 23, 2016, at age 40. Gunārs loved working for Cinemetrics, helping some of you with their data submissions, and working on new generations of Cinemetrics tools. I find no words in me to express my love and admiration for Gunārs as a son and collaborator. Let me instead quote those who met Gunārs in May, 2015 during the cinemetrics conference he and I conducted at the University of Chicago:


BARRY SALT: I will miss him as a person, too, apart from all he did to help create Cinemetrics.

 ADELHEID HEFTBERGER: I have no words to describe how this news shocked me. I still remember when Yuri first mentioned Gunars many years ago. It must have been in connection with sailing. Over email conversation I had formed this image of the intelligent and gifted mastermind behind Cinemetrics, who constantly developed the site and added useful features. When I met him finally in Chicago, I was surprised to see that he was also one of the funniest people I had ever met. I admired his dry humor and I can only imagine what a wonderful and loving father and husband he has been too. I am so sorry to hear that Gunars is no more and I cannot understand how this is possible.

 LEA JACOBS: I am so sorry to hear about Gunars. It was so great meeting him at the Cinemetrics conference last year. I loved his amused and ironic way of discussing the site, his style was so different from most of the computer experts I have encountered. 

 CHRISTINA PETERSEN: Although a bit late, I wanted to send you an email to offer my condolences. I heard about Gunnar through the Chicago pipeline and although I only met him in person once, at the Cinemetrics Symposium last year, I was very sorry to hear of your loss. My favorite memory of Gunnar in fact is from the semester in Spring 2007 when he skyped you during International Cinema II and you answered him, telling the class: “This is Gunnar, he helped invent Cinemetrics,” which prompted the class to break into a spontaneous burst of applause. That is the way I hope to remember him, always connected to you despite geographic or other distances in work and play.



Date: 2016-03-20 Posted by: Yuri Tsivian

Good news from three quarters into March.

1) A query (+ a reply) about Cinemetrics metadata on our Discussion Board.

2) A letter from a film scholar of China:

I’m taking the liberty of writing to you to pay tribute to you for your outstanding achievements in Cinemetrics, and see if we could find some possibilities of cooperation in film studies.
Please allow me to do some self-introduction. My name is Yang Shizhen, a professor at School of Journalism and communication in Guangzhou University, China. My teaching and research is centred on Chinese film studies and the comparative study of Chinese and American film language, for undergraduate and postgraduate.I was very excited when I first visited your last year’s September by chance. The quantitative methods, which you adopted in studying film’s style and form, do give me lots of inspiration. I agree with most of your research methods and conclusions.

As we know, China has become the No. 2 movie market of the world in 2015, but the Grand Theory still plays the leading role in Chinese film study. I am far more skeptical about its validity. My voice is so faint to be heard from here. Therefore, I am greatly encouraged by your research when I met with it. Anyway, I should express my gratitude to you for your work.

 Actually, in recent years, I have used some very similar methods in my teaching and research, with different tools. I used to guide students to extracts film form data with some editing softwares as a tool, such as After Effects/ Corel Video Studio/DaVinci Resolve and so on. In addition, I also used the data analysis of film form in the student’s practical training of editing and directing, and it has got some positive effect.

 Well, I have some thoughts and tentative proposals:

 1. I am leading some graduate students to found the database of Chinese film form, which I hope can be a part of the bigger database you established for researchers to compare film forms of different countries.

 2. As for CINEMETRICS and FACT, my students and I still have a lot to learn from you. I hope we could attend some relevant academic conferences held by your school, so that we have the opportunity to talk face to face.

 3. It’s a great honor for me to invite you to come to Guangzhou University and give lectures. Would you please accept the invitation? If possible, I will apply for all related expenses from Guangzhou University.

 4. I truly wish that we could have a variety of cooperation and academic exchanges in terms of Cinemetrics, like the translation of your work, the exchange of the graduate students and teachers, etc..

 Eager for your kind reply.

 Sincerely yours, Yang Shizhen

Professor, School of Journalism and Communication, Guangzhou University

 3) New films, new submitters (welcome aboard!)

A Short Film About Kissing: 7 ASL 3.6 submitted by Jordan Pollock;

David_Gregg_Hinkley: 7 ASL 7 submitted by David Gregg;

Bailey stabbing: 7 ASL 5 submitted by Alex Vryzakis;

Power plants, News at Ten: 7 ASL 7.2 submitted by Arthur Renard;

Power Plant Sommerset BBC News at Ten : 7 ASL 8.3 submitted by Catherine McMaster;

Bailey Gwynne BBC News 10pm: 7 ASL 5.7 submitted by Katy Scott;

Bob News at Six: 7 ASL 6.5 submitted by ivy Lee; news 6: 7 ASL 7.7 submitted by ivy lee;

ITV EU piece: 7 ASL 11.3 submitted by Peter;

Glumov's Diary : 7 ASL 7.4 ; Hog Wild : 7 ASL 6.5 ; Trial, The: 7 ASL 7.9 ; Under Two Jags: 7 ASL 5.5 submitted by Mohsen Nasrin;

parry & kombai: 7 ASL 7.4 submitted by anita;

The Shining (10mins): 7 ASL 13.1 ; The Dark Knight (10mins): 7 ASL 3.7 ; Intouchables (10min): 7 ASL 3.8 submitted by Justas; 

Der Pfarrer aus Kirchfeld: 7 ASL 3.7 submitted by Elisabeth;

Der Pfarrer aus Kirchfeld 2: 7 ASL 2.6 submitted by Liz;

The Raid 2: 7 ASL 5.3 ; John Wick: 7 ASL 3.8 ; The Raid: 7 ASL 4.3 ; Black Belt Jones: 7 ASL 5 ; Spectre (pre-credits): 7 ASL 3.1 ; Spectre: 7 ASL 3.4 ; Now You See Me (car chase): 7 ASL 1.7 ; Jack Reacher (car chase): 7 ASL 2.4 ; Striking Distance (car chase): 7 ASL 2.1 ; Longest Yard (car chase): 7 ASL 2.5 ; Momentum (car chase): 7 ASL 1 ; Spectre (car chase): 7 ASL 1.5 ; Merantau: 7 ASL 5 ; Vigilante (car chase): 7 ASL 1.9 ; Three Days to Kill (car chase): 7 ASL 0.9 ; Man on a Ledge (car chase): 7 ASL 1.6 ; Black Cat Run (car chase): 7 ASL 2.6 ; Taking Lives (car chase): 7 ASL 1.4 ; Connected (car chase): 7 ASL 2.1 ; The Rock (car chase): 7 ASL 1.2 submitted by edkupfer;

Will Success Spoil Rock Hunter? - Musical scene: 7 ASL 5 submitted by Marco Polo; 

North by Northwest: 7 ASL 12.2 submitted by Tijmen de Graaf.

Date: 2016-03-05 Posted by: Yuri Tsivian

Good news from early March.

On the scholarship front:

1) Our colleague Adelheid Heftberger of Austrian Film Museum published a book, take a look (in German) much of which is based on digital study of Vertov's editing, including measurements done on Cinemetrics.

2) David Hare from Australia contacted me with this message:

I recently submitted my PhD thesis on digital stereoscopy (D3D) for marking. One of the areas of interest was to do with the relationship between the uptake of the D3D screen technology and popular film techniques and visual styles. I used the Cinemetrics software to explore ideas about cutting rates, namely that D3D films in relation to conventional films have longer cuts in order to give the audience time to process the rendering/illusion of the third-dimension. The findings showed that this is not necessarily the case. Cinemetrics was such a great help. So, thank you and Gunars Civjans for sharing the program online.

3) Barry Salt, who always submits data using a frame-accutrate method adds those films to the database: 

Prisoner of Zenda, The: 7 ASL 6.5 ; Prisoner of Zenda, The: 7 ASL 7.6 ; Omen, The: 7 ASL 5.6 ; Omen, The: 7 ASL 3.7 ; Omen, The (Reduced): 7 ASL 3.8 ; Omen, The: 7 ASL 3.7 ; Omen, The (Reduced): 7 ASL 3.8 ;

Other submisssion by old and new comers (welcome aboard!)

10 Cloverfield Lane trailer: 7 ASL 1.3 ; The Choice Trailer #1: 7 ASL 1.2 ; Me before You Official Trailer #1: 7 ASL 1.2 ; Equals teaser trailer: 7 ASL 2 ; Knight of Cups Official Trailer: 7 ASL 1.1 ; The young Messiah trailer #1: 7 ASL 1.5 ; Creative Control official trailer #1: 7 ASL 1.4 ; The Witch offocial trailer: 7 ASL 2.2 ; The Boy trailer #2: 7 ASL 1.4 ; The Invitation trailer #1: 7 ASL 1.5 ; Amytiville: Het Awakening trailer #1: 7 ASL 1.3 ; Before I Wake Official trailer #1: 7 ASL 1.2 ; The Conjuring 2 teaser trailer #1: 7 ASL 1.9 ; The Visit trailer #1: 7 ASL 1.8 ; The Divergent Series_ Allegiant Official Trailer #1: 7 ASL 1.3 ; Avengers: Age of Ultron Trailer #1: 7 ASL 1.5 ; Suicide Squad Trailer #1: 7 ASL 2 ; X-Men Apocalypse Trailer #1: 7 ASL 1.8 ; Star Trek Beyond Teaser Trailer #1: 7 ASL 1.1 ; The 5th Wave trailer #1: 7 ASL 1 ; Independence Day Resurgence trailer #1: 7 ASL 1.8 submitted by Jurian Mulder;

Parry Living with the Kombai: 7 ASL 5.2 submitted by Anita Purcell Sjolund;

La notte (Camera Movement): 7 ASL 15.8 ; Professione: Reporter: 7 ASL 17.8 ; The Passenger (Camera Movement): 7 ASL 17.7 submitted by Julian Sittel;

We Need to Talk about Kevin: 7 ASL 7.7 ; We Need To Talk About Kevin: 7 ASL 7.7 submitted by T.S.; 

  Voice Of Conscience, The: 7 ASL 17.2 submitted by Mohsen Nasrin;

cabin fever: 7 ASL 46.9 ; the crazies: 7 ASL 38.8 submitted by rasmuna shafiee;

House of Flame (Kataku): 7 ASL 8.1 submitted by Liew Kongmeng;

Big Game Official Trailer #1 : 7 ASL 1.2 submitted by ; Goldeneye trailer: 7 ASL 0.8 submitted by ; Mad Max: Fury Road Trailer: 7 ASL 1.4 submitted by ; Taken trailer : 7 ASL 0.4 submitted anonymously.

Date: 2016-02-20 Posted by: Yuri Tsivian

Good news from mid-Feb.

1) a few days ago I got this message from a collegue whom I do not know personally. It gives us some idea of the cross-disciplinary spread of what we all are doing on Cinemetrics:

Dear Dr. Tsivian, 

My article on digital representations of film analysis has been accepted for publication in France by Classiques Garnier in  the proceedings of the 2013 Conference of the International Association of Comparative Literature (ICLA). My main point consists in demonstrating that film analysis is no longer restricted to textual and verbal commentary, and has been taking many graphic forms since Bellour's work on Hitchcock's films. I am writing to request from you the authorization to reproduce and publish the Cinemetrics screengrab (posted on the homepage of your website) to illustrate my article. I thank you in advance for your reply. Should you need any further information, please don't hesitate to let me know.

 Best regards, 

Caroline Eades, Associate Professor of Film and Comparative Literature University of Maryland, College Park

2) A newcomer to Cinemetrics Julian Sittel is in the process of submitting Antonioni's body of films distiguishing between differrent shot scales and shots with the static vs. mobile framing. Looks like the beginning of a promising research. I bet fluctuations in shot scales across Antonioni's many films will lead to a meaningful conclusion. Keep measuring, Julian, if this is your plan, I look forward to more submissions

New film and newcomers (welcome aboard!)


Il deserto rosso: 7 ASL 10.2 ; Le Amiche: 7 ASL 26.6 ; Cronaca di un amore: 7 ASL 32.7 ; Il grido: 7 ASL 19.4 ; La notte: 7 ASL 15.8 ; L'eclisse: 7 ASL 11.5 ; Cronaca di un amore (Camera Movement): 7 ASL 32.3 ; Zabriskie Point: 7 ASL 8.1 submitted by Julian Sittel;

Pelnu sanatorija / Exiled: 7 ASL 17.7 submitted by Elina Reitere;

Toprak (The Earth): 7 ASL 12.3 submitted by Cagri Inceoglu;

Neha: 7 ASL 14.9 ; Vsetko co mam rad: 7 ASL 13.9 submitted by Patrik Khun;

Just Rambling Along: 7 ASL 7.9 ;  Electric Hotel, The: 7 ASL 26.4 ; Uncle's Apartment: 7 ASL 16.4 ; Crazy to Act: 7 ASL 5.6 submitted by Mohsen Nasrin;

A Better Tomorrow 2: 7 ASL 3.7 ; Compliance: 7 ASL 8 submitted by Brano Hamacek;

Efelerin Efesi: 7 ASL 10.5 submitted by Cagri Inceoglu;

Star Trek - Enterprise: Acquisition: 7 ASL 5.3 ; Star Trek - Enterprise: Oasis: 7 ASL 5 ; Star Trek - Enterprise: Detained: 7 ASL 5.1 ; Star Trek - Enterprise: Vox Sola: 7 ASL 5.3 ; Star Trek - Enterprise: Fallen Hero: 7 ASL 4.3 ; Star Trek - Enterprise: Desert Crossing: 7 ASL 7 ; Star Trek - Enterprise: Two Days and Two Nights: 7 ASL 5.3 ; Star Trek - Enterprise: Shockwave, Part 1: 7 ASL 5.4 ; Star Trek - Enterprise: Shockwave, Part 2: 7 ASL 7.4 submitted by Armin Jaeger;

Conserva Acabada: 7 ASL 11.5 ; Sophia de Mello Breyner Adresen: 7 ASL 12.9 ; Conserva Acabada: 7 ASL 10 submitted by Maria Santos;

In the mouth of madness: 7 ASL 5.2 submitted by Martin Plescher; 

All is lost: 7 ASL 10.7 submitted by Michaela Kapickova.  

Date: 2016-02-06 Posted by: Yuri Tsivian

Good news from the 1st week of February.

New films, newcomers (welcome aboard!):

Svet patri nam: 7 ASL 6.6 ; Spalovac mrtvol: 7 ASL 5.4 submitted by Juraj Ondrus; 

Star Trek - Enterprise: Dear Doctor: 7 ASL 7.2 ; Star Trek - Enterprise: Shadows of P'Jem: 7 ASL 4.8 ; Star Trek - Enterprise: Sleeping Dogs: 7 ASL 7 ; Star Trek - Enterprise: Shuttlepod One: 7 ASL 5.8 ; Star Trek - Enterprise: Fusion: 7 ASL 5.1 ; Star Trek - Enterprise: Rogue Planet: 7 ASL 6.1 submitted by Armin Jaeger;

Dar Hashieh 2 Part 14: 7 ASL 7.1 ; Corner in Wheat, A: 7 ASL 26.6 ; Water Nymph, The: 7 ASL 7.5 ; Good Night, Nurse!: 7 ASL 5.6 ; Straightforward Boy, A: 7 ASL 5.9 ; Balloonatic, The: 7 ASL 7.3 ; Jiraiya the Hero: 7 ASL 30.6 ; Panicky Picnic, The: 7 ASL 19.4 ;Debuts d'un patineur, Les: 7 ASL 33.6 ; First Cigar: 7 ASL 22.5 ; Lilja 4-Ever : 7 ASL 6.1 ; Cook, The : 7 ASL 5.2 ; Lucky Dog, The : 7 ASL 4.6 ; Hustling for Health: 7 ASL 8.4 ; Captain Kidd's Kids : 7 ASL 5.9 ; Fellini Satyricon: 7 ASL 7.2 submitted by Mohsen Nasrin;

First Texan, The: 7 ASL 11.4 submitted by Sam Roggen; 

Friday the 13th: 7 ASL 3.5 submitted by Filipe;

Seinfeld ep. The Contest: 7 ASL 4.6 submitted by Christian H. Pelegrini;

vejska: 7 ASL 7.7 submitted by hmyzozravec;

Steve Jobs: 7 ASL 4.9 submitted by Brano Hamacek.