Cinemetrics

Date: 2022-12-24 Posted by: Yuri Tsivian

Dear Cinemetrics Users!

Naum Kleiman sent me this wonderful Byblical drawing by Eisenstein complete with Holiday greetings, which I forward to you all, adding mine:

Date: 2022-08-27 Posted by: Yuri Tsivian

Excellent News

after a year-plus of searching, we were fortunate to find a dream team of IT experts who agreed to restore the FACT tool we lost to the Remove-Flash-from-Browsers campaign and make the Classic tool Mac-User-friendly. Here is an exerpts from the agreement signed today.

"Third North Technologies LLC will develop a Google Chrome extension enabling users to navigate through a film, capture timestamps, and transmit that data to an existing MySQL database.

Developer Deliverables The principal deliverable will be the Chrome extension. Expected features are: 1. User may play a video file stored on user’s machine. 2. User may navigate through the video file at frame-by-frame increments. 3. User may place timestamps at any point in the file. 4. User may input sufficient film metadata for identification: title; year of release; director; country of origin. 5. User may save data, and re-open to continue, at any time; user should be able to re-open an in-progress submission, restoring markers previously placed, to continue the work. 6. User may upload completed data to the existing Cinemetrics database. 7. User may access the extension and make use of the features when not connected to the internet (data will be saved locally as work continues and uploaded to the database upon reconnection). 8. Users will be able to use the tool in both “start-and-stop mode” (using the video player controls) and in “continuous mode” (without using the video player; for example, the user places timestamps while viewing a film in a theater or television set). An additional deliverable will be a written and illustrated tutorial, preferably including a video with instructions how to best use the various features of the toolkit."

Date: 2022-08-09 Posted by: Yuri Tsivian

In the first week of August, a number of data were submitted to Cinemetrics that have no film title (except acronyms like A or TPQS) and year marked, These may be legitimate tests, or a bunch or robotic scams. I have deleted those, as we usually do with submissions missing essential metadata.

Date: 2022-06-03 Posted by: Yuri Tsivian

CINEMETRICS working again.

I'm so sorry for that service interruption last night. It seems our sysadmin Peter was performing some quick maintenance yesterday afternoon, and Adam attempted his submission in that very brief window. There ideally shouldn't be any lingering issues.

Date: 2022-06-02 Posted by: Yuri Tsivian

SUBMISSION ALERT:

One of the Alluder team guys, Adam Peterson, tried his hand for the first time to submit a movie to Cinemetrics, and the system foiled him (see details below);

From: Adam Peterson <adam@alluder.com>

Sent: Thursday, June 2, 2022 5:18 PM

To: Yuri Tsivian <ytsivian@uchicago.edu>

Yuri, I'm sad to report that my first experience with Cinemetrics ended unsuccessfully.

I watched The Night House (2020) and recorded every cut. However, when I submitted the information I experienced a long submission wait time (screenshot below), then was notified my submission was unsuccessful, after which the application crashed and my data was lost.

Adam

Having received Adam’s message, I ran a quick test and got the same “unsuccessful” reply:

I tried the database, and the database works as usual.

IF YOU ARE PLANNING TO SUBMIT NEW DATA TO CINEMETRICS PLEASE MAKE SURE YOUR DATA ARE SAFE BEFORE YOU HIS "SUBMIT" OR WAIT TILL THE PROBLEM IS SOLVED.

Date: 2022-05-21 Posted by: Yuri Tsivian

Wonderful news! Cinemetrics has a younger sister, named Alluder. While its task is usefully broader than Cinemetrics', one can use Alluder for calculating cut frequency as well. I leanded of Alluder's existence from this email from its creator:

Hi Professor Tsivian,

My name is Aaron Peterson and I'm an undergrad at New York University.

About a year and a half ago, my brother and I formed an idea to create a chrome extension that would allow film researchers and makers to create time-stamped annotations to be used for research and collaborative purposes. We called it Alluder (our first idea was to point out every allusion in a film) and have since published it on the chrome store.

This semester, I've been busy upgrading it with features and showing it to both students and professors. One professor I showed it to yesterday told me it reminded her of Cinemetrics. Being unfamiliar with the tool, I used it last night and made a submission (3:10 to Yuma).

While Alluder doesn't provide the same ability to track shots as Cinemetrics does, I think it could and I'd very much like to connect to hear your thoughts and see if I could be helpful.

I'm also going to include a video I made for a film and tv class I presented to last week to demo Alluder.

Look forward to hearing your thoughts and thank you for your time.

Best,

Aaron

Alluder Intro (1).mp4

Date: 2021-12-24 Posted by: Yuri Tsivian

Happy Holidays to all Cinemetricians!

Yuri

Date: 2021-09-13 Posted by: Yuri Tsivian

Good news: our field is advancing, slowly bur surely. In August, I got this email from Barry Salt: "Dear Yuri,

I have got another piece out in Digital Scholarship in the Humanities in the advance articles online form of that journal, dated 21 May 2021. Lord knows when and if they will put it on paper. Anyway I attach it for you, and it is available for everyone on the starword.com website. That is the important thing. It contains a new metric."

Indeed, a break-trhough thing, titled "The end of the Great Speed-Up." Just click and download. Another good news is that a study of editing by James E. Cutting, mostly researched on Cinemetrics, is out from Oxford University Press: Movies on Our Minds: The Evolution of Cinematic Engagement. Take a look here.

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 that’s 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,

1. MY EMAIL TO LUKE:

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!

Many thanks,

Luke

Here is a sample of Luke's metadata in Excel

Date: 2019-08-11 Posted by: Yuri Tsivian

Dear cinemetricians,

1. MY EMAIL TO LUKE:

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!

Many thanks,

Luke

Here is a sample of Luke's metadata in Excel

Date: 2019-06-22 Posted by: Yuri Tsivian

A noteworthy news:

more than 50 modern (2015-18) films from different counties measured in the Advance Mode by sot scale (BCU-...-LS) have been submitted recently by A. McGee. Looks like an interesing research project, possibly useful for the rest of us. Take a look!

Date: 2019-06-11 Posted by:

Good and sad news this spring. The good news: Veronica Schmidt's book "Quantitative Film Studies. Regularities and Interrelations Exemplified by Shot Lengths in Soviet Feature Films" came out recently. Veronica used the Cinemetrics tool for the measurement of 70 Soviet feature films: 1920s-1980s, 5 comedies and 5 dramas per decade.

The sad one: Veronica's teacher and mentor cinemetrician Peter Grzybek (1957 – 2019) died recently. See the obituary at https://www.iqla.org/GrzybekObituary.pdf

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” https://neubauercollegium.uchicago.edu/faculty/cinemetrics/. 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: http://www.cinemetrics.lv/articles.php

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: https://academic.oup.com/dsh/article-abstract/32/1/1/2957363?redirectedFrom=fulltext ; the other, “A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics” in the French journal Mise au Point, see https://journals.openedition.org/map/2108

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 https://www.youtube.com/watch?v=uw3p_pNz5mU

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 http://www.mikemetrics.com/#

n “Evolution in Hollywood editing patterns?” To be found among links available here: http://www.cinemetrics.lv/articles.php

n “Further comments on evolution in Hollywood film: the role of models” To be found among links available here: http://www.cinemetrics.lv/articles.php

n “Monograph: Notes on Cinemetric Data Analysis” To be found among links available here: http://www.cinemetrics.lv/articles.php

n “Cinemetrics – a bibliography.” To be found among links available here: http://www.cinemetrics.lv/articles.php

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: http://www.douglaskokes.cz/pdz/ 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: 2017-01-07 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 cinemetrics.lv 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;

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.

Date: 2016-01-09 Posted by: Yuri Tsivian

Happy New Year!

good news from week one of 2016:

O Milionario: 7 ASL 11.4 ; Dom Roberto: 7 ASL 11.6; Verdes Anos: 7 ASL 14.4 submitted by Ricardo Pesqueira;

ada: 7 ASL 93.1 submitted by kosan kramer;

das: 7 ASL 0.7 submitted by ana;

Rough House, The : 7 ASL 4.4 submitted by Mohsen Nasrin;

O miudo da bica: 7 ASL 9 submitted by Joao Seabra;

In the Mouth of Madness: 7 ASL 5.8 submitted by Jan Susky;

The Hudsucker Proxy: 7 ASL 5.7 submitted by Patrik Uram;

Os Mutantes: 7 ASL 23.7 submitted by Henrique Vilao;

Uma hora de Amor: 7 ASL 14.1 submitted by Joao Seabra;

Death of a Salesman (CBS TV version): 7 ASL 10.7 ; NBC Sunday Showcase - What Makes Sammy Run? Part 1: 7 ASL 19.5 ; NBC Sunday Showcase - What Makes Sammy Run? Part 2: 7 ASL 17.2 submitted by Jonah Horwitz;

A Idade Maior: 7 ASL 14.8 submitted by Henrique Vilao;

Post Mortem: 7 ASL 17.4 submitted by Amanda Suhey;

Over the Fence: 7 ASL 6.2 ; Kyuba no koibito : 7 ASL 10.9 ; Maniac Chase: 7 ASL 42.1 ; Day in the Hayfields, A: 7 ASL 17.2 ; '?' Motorist, The : 7 ASL 9.8 submitted by Mohsen Nasrin;

O Meu Amigo Mike ao Trabalho: 7 ASL 51.2 submitted by Tiago;

Toy Story 3: 7 ASL 4.4 submitted by Julia;

In The Mouth of Madness: 7 ASL 5.5 submitted by Varvara Satunova;

Mudar de Vida (Fishing scene #1): 7 ASL 6.4 submitted by Ricardo Pinto; Mudar de Vida (Fishing Scene #2): 7 ASL 8.5 submitted by Ricardo Pinto.

Date: 2015-11-28 Posted by: Yuri Tsivian

Good news from the (US) Thanksgiving weekend:

New films and newcomers (welcome aboard!)

The Big Country: 7 ASL 8.8 submitted by Patrik Pajer;

Girls S1E2: 7 ASL 5.6 ; Girls S1E3: 7 ASL 5.5 ; Girls S1E4: 7 ASL 5.9 ; Girls S1E5: 7 ASL 4.8 ; Girls S1E6: 7 ASL 5 ; Girls S1E7: 7 ASL 6.6 ; Girls S1E9: 7 ASL 5.2 ; Girls S1E10: 7 ASL 6.1; Girls S1E8: 7 ASL 6.8 ; Scandal S1E1: 7 ASL 2.8 ; Scandal S1E2: 7 ASL 3 ; Scandal S1E3: 7 ASL 3.4 ; Scandal S1E4: 7 ASL 3.2 ; Scandal S1E6: 7 ASL 3 ; Scandal S1E6: 7 ASL 3.3 submitted by Michael Young;

Three Coins in the Fountain: 7 ASL 16.6 ; Halls of Montezuma: 7 ASL 9.7 ; Love is a Many-Splendored Thing: 7 ASL 17.1 ; Desiree: 7 ASL 14.2 ; Beneath the 12-mile Reef: 7 ASL 9.6 ; Beneath the 12-Mile Reef: 7 ASL 9.6 ; Halls of Montezuma: 7 ASL 9.6 ; Love is a Many-Splendored Thing: 7 ASL 16.8 ; Desiree: 7 ASL 14.2 ; Three Coins in the Fountain: 7 ASL 16.5 submitted by Lisa Marie Verbist;

Daddy Long Legs: 7 ASL 17.3; Compulsion: 7 ASL 10.6; Daddy Long Legs: 7 ASL 16.9 ; Dangerous Crossing: 7 ASL 10.4 ; Carousel: 7 ASL 21.9 ; The Day The Earth Stood Still: 7 ASL 7 ; Dangerous Crossing: 7 ASL 10.3 ; Compulsion: 7 ASL 10.4 submitted by Yannick Heyndrickx;

Flying Down to Rio_number Flying Down to Rio: 7 ASL 3.9 submitted by CR;

The Towering Inferno: 7 ASL 6.7 submitted by Patrik Pajer;

The Big Country: 7 ASL 8.8 submitted by Varvara Satunova;

BBC News at One: 7 ASL 6.8 ; BBC News at One PKG2: 7 ASL 4.1 submitted by KB;

Dangerous Crossing: 7 ASL 10.9 ; Bus Stop: 7 ASL 7.7 ; Good Morning, Miss Dove: 7 ASL 19.6 ; The Big Lift: 7 ASL 9.2 ; Beloved Infidel: 7 ASL 13.6 ; The Forgmen: 7 ASL 7 ; The Frogmen: 7 ASL 6.8 ; Good Morning, Miss Dove: 7 ASL 18.6 ; The Big Lift : 7 ASL 8.8 ; Beloved Infidel: 7 ASL 13.4 ; Bus Stop: 7 ASL 7.8 submitted by Anna Moreels;

The Big Country: 7 ASL 8.9 submitted by Karolina Hrichova;

CREDITOS O pintor e a cidade: 7 ASL 9.1 submitted by Kamy;

Fourteen Hours : 7 ASL 8.8 ; Night People: 7 ASL 29.3 ; Rains of Ranchipur, The: 7 ASL 16.3 submitted by Charlotte Simons;

The Towering Inferno: 7 ASL 6.9 submitted by Matej Porizek;

Ocean Studies (Effets de mer): 7 ASL 30.5 ; Irresistible Piano, The: 7 ASL 27.1 ; Falling Leaves: 7 ASL 26.4 ; Suspense : 7 ASL 10.3 ; Consequences of Feminism (The) : 7 ASL 49.3 submitted by Mohsen Nasrin;

Three Came Homer: 7 ASL 6.9 ; Broken Lance: 7 ASL 11.9 ; Man on a Tightrope: 7 ASL 7.9 ; What Price Glory: 7 ASL 11 ; Broken Lance: 7 ASL 11.9 ; Hatful Of Rain: 7 ASL 21.4 ;

The Big Country: 7 ASL 8.9 submitted by Barbara Novakova; The Towering Inferno: 7 ASL 6.8 submitted by Barbara Novakova;

Soldier of Fortune: 7 ASL 9.6 ; Demetrius And The Gladiators: 7 ASL 9.5 ; Hatful of Rain: 7 ASL 21.1 ; Decision Before Down: 7 ASL 12.6 ; What Price Glory: 7 ASL 11.2 ; Man On A Tightrope: 7 ASL 8.2 ; Decision Before Down: 7 ASL 12.7 submitted by Afshin;

Desk Set: 7 ASL 23.1 ; The Virgin Queen: 7 ASL 19 ; Kiss Them For Me: 7 ASL 17 ; South Pacific: 7 ASL 9.3 ; As Young As You Feel: 7 ASL 13.1 ; Desk Set: 7 ASL 19.9 ; The Virgin Queen: 7 ASL 17.3 submitted by Adriaan Delsaerdt;

Det perfekte menneske: 7 ASL 12.3 submitted by Helena Christensen;

The Big Country: 7 ASL 8.5 submitted by Norbert Pokrony;

The big country: 7 ASL 9.3 submitted by Martin Plescher;

The Prom: It's a Pleasure!: 7 ASL 11.6 ; Ask Dad: 7 ASL 20.4; The Last Alarm: 7 ASL 9 submitted by Silverfish;

Big Country: 7 ASL 8.7 submitted by Jan Susky;

Prince Valiant: 7 ASL 6.8 ; Call Me Madam: 7 ASL 17.2 ; Rawhide: 7 ASL 5.2 ; Prince Valiant: 7 ASL 6.8 ; Nekojiru So [Cat Soup]: 7 ASL 6.7 submitted by Sam Vandesande;

The Towering Inferno: 7 ASL 7.1 ; The Big Country: 7 ASL 8.9 submitted by Lukas Nedomlel;

Th Towering Inferno : 7 ASL 7.2 ; The Towering Inferno: 7 ASL 7.2 submitted by Jan Susky;

The Big Country: 7 ASL 8.5 ; Towering Inferno: 7 ASL 6.4 submitted by Martina Paulenova;

The Towering Inferno: 7 ASL 6.7 submitted by Norbert Pokrony;

The Big Country: 7 ASL 8.7 submitted by Lukas Fidrmuc;

The Big Country: 7 ASL 8.7 submitted by Adam Lukuvka;

The Big Country: 7 ASL 8.5 ; The Towering Inferno: 7 ASL 6.7 submitted by Tereza Bochinova;

The Big Country: 7 ASL 8.8 submitted by Marek Mrkvicka;

The Big Country: 7 ASL 8.9 submitted by Eva Bizovska;

Big Country: 7 ASL 9 submitted by Tereza Vlasata;

The Big Country: 7 ASL 8.5 submitted by Jiri Adamek;

Best of Everything, The: 7 ASL 11.4 submitted by Sam Van de Sande;

The Towering Inferno: 7 ASL 6.9 submitted by Adam Lukuvka;

The Big Country: 7 ASL 8.6 submitted by Vojtech Vyskocil;

The Towering Inferno: 7 ASL 6.5 submitted by Eva Bizovska;

The Tower Inferno: 7 ASL 6.8 submitted by Patrik Uram;

The Towering Inferno: 7 ASL 6.7 submitted by Klara Mamojkova;

The Towering Inferno: 7 ASL 6.8 submitted by Patrik Uram;

The Towering Inferno: 7 ASL 6.8 submitted by Martin Slezak;

Towering inferno: 7 ASL 6.8 submitted by Tereza Vlasata;

The Towering Inferno: 7 ASL 7.1 submitted by Varvara Satunova;

The Big Country: 7 ASL 8.6 submitted by Klara Mamojkova;

The towering inferno: 7 ASL 6.9 submitted by Martin Plescher;

The Big Country: 7 ASL 8.8 submitted by Martin Slezak;

Transe: 7 ASL 34.2 submitted by Henrique Vilao;

There's no business like show business: 7 ASL 23.6 submitted by Goossens Margot;

Big Lift, The: 7 ASL 8.7 submitted by Goossens Margot;

Night People: 7 ASL 25.7 submitted by Charlotte Simons;

The Towering Inferno: 7 ASL 6.6 submitted by Karolina Hrichova;

The Big Country: 7 ASL 8.6 submitted by Patrik Uram;

The Big Country : 7 ASL 8.9 submitted by Miroslav Stepanek;

The Towering Inferno: 7 ASL 6.9 submitted by Vojtech Vyskocil;

The Towering Inferno: 7 ASL 7.9 submitted by Hana Janciova;

The Towering Inferno: 7 ASL 6.8 submitted by Jiri Adamek;

Man In The Gray Flannel Suit, The: 7 ASL 15.8 submitted by Willem Clysters;

Agua e Sal: 7 ASL 29.6 submitted by Henrique Vilao;

The Towering Inferno: 7 ASL 7.3 submitted by Miroslav Stepanek;

The Big Country: 7 ASL 8.5 submitted by Kristian Neky;

The Towering Inferno: 7 ASL 6.8 submitted by Marek Mrkvicka;

The Big Country: 7 ASL 9.6 ; The Towering Inferno: 7 ASL 9.3 submitted by Tereza Robenkova;

Tres Irmaos: 7 ASL 11.3 submitted by Henrique Vilao;

The Towering Inferno: 7 ASL 6.7 submitted by Kristian Neky;

The Big Country: 7 ASL 8.4 submitted by Matej Porizek;

The Towering Inferno: 7 ASL 7.2 submitted by Kristina Istvanikova;

The Towering Inferno: 7 ASL 6.8; The big country: 7 ASL 8.5 submitted by Filip Mezulanik;

The Big Country: 7 ASL 8.8 submitted by Andrea Bravencova;

The Towering Inferno: 7 ASL 7.9 ; The Big Country: 7 ASL 8.5 submitted by Anna Ruzickova;

The Big Country: 7 ASL 9.1 submitted by Hana Janciova;

The Big Country: 7 ASL 8.8 submitted by Kristina Istvanikova;

The Toweting Inferno: 7 ASL 6.8 ; The Big Country: 7 ASL 9.1 submitted by Petr Obst;

The Towering Inferno: 7 ASL 7.3 submitted by Andrea Bravencova;

The Big Country: 7 ASL 9.1 submitted by Karolina Hrichova;

Nike: Snow Day: 7 ASL 1.3 ; Squatty Potty ad: 7 ASL 2.8 ; The New Microsoft Surface: 7 ASL 2.8 ; Anniston Emirates A380 Ad: 7 ASL 1.8 ; Fueled by the Future: 7 ASL 2.5 ; Playstation Holiday/Battlefront 2015: 7 ASL 1.4 ; iPhone 6s Flip a Coin: 7 ASL 3.7 submitted by Ben Jones;

The Towering Inferno: 7 ASL 7.5 ; The Big Country: 7 ASL 11.2 submitted by Veronika Karsulinova;

The Big Country: 7 ASL 8.8 ; The Big Country: 7 ASL 8.8 ;The Towering Inferno: 7 ASL 7.6 submitted by Jiri Vaca;

The Big Country: 7 ASL 9.1 ; The Towering Inferno: 7 ASL 6.9 submitted by Jaromir Vagner;

Vicki : 7 ASL 16.2 ; The Man in the Gray Flannel Suit: 7 ASL 16 ; The Young Lions: 7 ASL 8.9 submitted by Willem Clysters.

Date: 2015-11-06 Posted by: Yuri Tsivian

Good news from the first week of November.

Jaakko Seppälä cinemetric-informed analysis of Aki Kaurismäki's films has been published in Projections 9(2) 2015, see here.

New films and newcomes (welcome aboard!):

Chosen : 7 ASL 2.7 ; Perdon, viejita: 7 ASL 5.2 ; Carrie, Carrie (Shower sequence comparison): 7 ASL 3.2 submitted by Mohsen Nasrin;

Edge of the City: 7 ASL 12.6; Philco Television Playhouse: A Man Is Ten Feet Tall: 7 ASL 21.5 submitted by Jonah Horwitz;

Hit the Deck: 7 ASL 20.2 ; Rally 'Round the Flag, Boys!: 7 ASL 10.5 ; Some Came Running: 7 ASL 15.4 ; Land Unknown, The: 7 ASL 5.5 ; Tall Target, The: 7 ASL 9 ; Serenade: 7 ASL 11.2 ; Strategic Air Command: 7 ASL 10 submitted by Sam Roggen;

Alles is Liefde: 7 ASL 3.6 submitted by Charlotte van Roosmalen;

Love Actually: 7 ASL 5.1 submitted by Gina de Wit;

Dead or Alive (Deddo oa araibu: Hanzaisha): 7 ASL 10.2 submitted by Michael Raven;

(Second half) Almadraba Atuneira: 7 ASL 6 submitted by Ricardo Pinto;

Les Miserables: 7 ASL 3.1 submitted by Daan Brem;

Alles is Liefde: 7 ASL 4 submitted by Charlotte van Roosmalen;

Death Sentence: 7 ASL 33.3 submitted by Amy Welten;

Youth: 7 ASL 5.8 submitted by Brano Hamacek;

The Last Five Years: 7 ASL 11.4 submitted by Iris Matters;

Snatch : 7 ASL 3.8 submitted by Daniel Valk;

Kingsman: Secret Service: 7 ASL 3.8 submitted by Dion Cevikcan;

King Kong: 7 ASL 2.5 ; King Kong (Part 3) (last 31 minutes): 7 ASL 2.4 ; King Kong (part 2): 7 ASL 2.2 submitted by Frederique Rinkens;

Heat: 7 ASL 3.2 submitted by Yori Thijssen;

Birdman: Or the unexpected virtue of ignorance: 7 ASL 373.3 submitted by Isabel Spit;

Whiplash: 7 ASL 1.9 ; Whiplash - Climax: 7 ASL 2.5 ; Kingsman: 7 ASL 1.7 submitted by Nick;

as pinturas do meu irmao julio : 7 ASL 17.2 submitted by Maria Santos;

Heat: 7 ASL 4.4 submitted by Yori Thijssen;

Casino Royale: 7 ASL 4.2 submitted by Marloes Stapper;

Badlands: 7 ASL 16.5 submitted by Maaike van der Horst;

Prince of Persia: 7 ASL 3.2 submitted by Alicia Hack;

Snatch Intro: 7 ASL 4.9 ; Snatch (Fragment): 7 ASL 1.5 submitted by Daan;

The Breakfast Club: 7 ASL 4.1 submitted by Gaby Boterkooper;

Limitless: 7 ASL 4.2 submitted by Marlijn Cats;

Om Shanti Om: 7 ASL 3.9 submitted by Aukje Bink;

Kingsman: Secret Service: 7 ASL 3.6 submitted by Dion Cevikcan;

Memento: 7 ASL 4.4 submitted by Femke Sue van Bragt;

Cloud Atlas: 7 ASL 49 submitted by Marlijn Hegge;

Phone Booth: 7 ASL 5.3 submitted by Niels Lodeweges;

Oefening: 7 ASL 8.7 submitted by LM;

Conviction: 7 ASL 4.5 submitted by Loes Brinkman;

Quem Espera por Sapatos de Defundo Morre Descalco: 7 ASL 22 submitted by SoniaVinagre;

O pintor e a cidade (Manoel de Oliveira): 7 ASL 5.4 submitted by Camille Rebelo;

10 things I hate about you: 7 ASL 7.4 submitted by Pim Prins;

Memoirs of a geisha: 7 ASL 6 submitted by Gabriella Lahdo;;

Mad Max: Fury Road: 7 ASL 2.6 submitted by Yvonne Festl;

Toy Story : 7 ASL 2.2 submitted by Rahul; Dark Knight Rises Trailer3: 7 ASL 1.6 submitted by Rahul;

Oldboy: 7 ASL 9.9 submitted by Haneul Lee;

Eternal Sunshine of a spotless mind: 7 ASL 6.4 submitted by Naomi van Soest;

Whiplash: 7 ASL 2.9 submitted by Michelle Versluis;

Devdas : 7 ASL 10.5 submitted by Melanie Oostveen; Devdas: 7 ASL 6.1 submitted by Melanie Oostveen;

The Breakfast Club: 7 ASL 4.2 submitted by Gaby Boterkooper;

Devdas: 7 ASL 5.2 submitted by Melanie Oostveen;

eternal sunshine of a spotless mind: 7 ASL 71.4 submitted by Naomi van Soest;

Limitless: 7 ASL 3.6 submitted by Marlijn Cats;

Kill Bill vol. 1: 7 ASL 162.7 submitted by Bos;

Kill Bill vol 1. einde: 7 ASL 25.7 submitted by Bos;

As Pedras e o Tempo (Fernando Lopes): 7 ASL 6.5 submitted by Miguel Dinis;

Pans Labyrinth: 7 ASL 6.3 submitted by Yolanda T;

Frozen: 7 ASL 4.1 submitted by Lisa van de Ruit;

Yurusarezaru Mono (Unforgiven Japanese Version): 7 ASL 10.5 submitted by sayuki;

House of the Flying Daggers: 7 ASL 10.1 submitted by Rens Bleijenberg;

To Kill A Mockingbird: 7 ASL 8.9 submitted by Julia Bakker; To Kill A Mockingbird: 7 ASL 6.2 submitted by Julia Bakker;

Birdman: Or The Unexpected Virtue of Ignorance: 7 ASL 141.3 ; Birdman: Or the Unexpected Virtue of Ignorance: 7 ASL 150.9 submitted by Isabel Spit;

House of the Flying Daggers: 7 ASL 9.5 submitted by Rens Bleijenberg;

Interstellar: 7 ASL 5.2 submitted by Jasper van Ham;

Cloud Atlas: 7 ASL 48.5 submitted by Marlijn Hegge;

fallen angel: 7 ASL 31.9 submitted by Vincent Tramper;

Desperately Seeking Susan: 7 ASL 9.7 submitted by Cecile Trooster;

Anna Karenina: 7 ASL 5.6 submitted by Amber Damwijk;

Desperately Seeking Susan: 7 ASL 9.3 submitted by Cecile Trooster;

Frozen: 7 ASL 5.3 submitted by Lisa van de Ruit;

The Great Gatsby: 7 ASL 7.8 submitted by Ellen;

Toy Story 3: 7 ASL 6.2 submitted by Julia;

The Last Five Years: 7 ASL 10.1 submitted by Iris Matters;

Pans Labyrinth: 7 ASL 148.2 submitted by Yolanda T;

Zkouska: 7 ASL 4.1 submitted by Magdalena;

Amelie: 7 ASL 5.1 submitted by Pieter Schenk;

Online Tool: 7 ASL 2.2 submitted by NA;

Wolf - Jim Taihuttu: 7 ASL 3.8 submitted by Fay Conrad;

Limitless: 7 ASL 4.2 submitted by Marlijn Cats;

Dong-chang-saeng: 7 ASL 3.6 submitted by ed kupfer.

Date: 2015-10-17 Posted by: Yuri Tsivian

Good news from mid-October.

New films, newcomers (welcome aboard!):

Man There Was, A: 7 ASL 12 ; Saute ma ville : 7 ASL 27.7 ; Assassination of the Duke de Guise, The: 7 ASL 48.4 ; Twenty Minutes of Love: 7 ASL 7.3 ; Appointments of Dennis Jennings, The: 7 ASL 8.4 ; Ex-Convict, The: 7 ASL 60.4 ; Band of Outsiders: 7 ASL 18.4 submitted by Mohsen Nasrin;

99 Homes: 7 ASL 0.9 ; Paper Towns Trailer #2: 7 ASL 1.2 ; Spectre Final International Trailer: 7 ASL 1.3 ; The Big Short Official Trailer #1: 7 ASL 1 ; Meadowland official trailer 1: 7 ASL 1.3 ; Macbeth Official US release trailer: 7 ASL 1.1 ; The Forest Official Trailer #1: 7 ASL 1.6 ; Bone Tomahawk Official Trailer: 7 ASL 1.4 ; Knock Knock: 7 ASL 1.3 ; A Christmas Horror Story Official Trailer: 7 ASL 1.1 ; The Vatican Tapes Official Trailer: 7 ASL 1.2 ; Star Wars_ Episode VII - The Force Awakens Official Teaser Trailer 2: 7 ASL 3.6 ; Batman v Superman_ Dawn of Justice - Comic-Con Trailer: 7 ASL 1.9 ; The Last Witch Hunter - Official Trailer 3: 7 ASL 0.9 ; Deaopool Trailer #1: 7 ASL 1.3 submitted by Jurian Mulder;

True Grit : 7 ASL 8 ; True Grit : 7 ASL 2.6; submitted by Inma;

True Grit: 7 ASL 8.2 submitted by Marta;

Despicable Me: 7 ASL 4.2 Despicable Me Trailer 1: 7 ASL 3; Despicable Me 2 Trailer: 7 ASL 1.6 submitted by Ran Xin;

Check It Out! with Dr. Steve Brule, 3x03: 7 ASL 2.7 submitted by Dustin Joseph;

Force Majeure: 7 ASL 30 submitted by Maria;

Les bougon s1e10 Crapuleux Destin: 7 ASL 3.8 ; Les Bougon QC S1 e12 Joyeux Noel: 7 ASL 3.8 ; Les Bougon QC S1E13 Justice pour tous: 7 ASL 3.4 ; Les Bougon QC S2 E19 Chien et Chat: 7 ASL 3.5 ;Les Bougon S2 E21 Petites Morts: 7 ASL 4.6 ; Les Bougon FR.e.10 : 7 ASL 5.1 ; Les Bougon s1e8 Apparences trompeuses: 7 ASL 4.6 submitted by Landry Digeon;

Deus e o Diabo na Terra do Sol: 7 ASL 10.9 submitted by Ricardo Pinto; (Too Late and Too Drunk Scene)Tokyo Story: 7 ASL 15.3 submitted by Ricardo Pinto;

(excerto) Deus e o Diabo na Terra do Sol: 7 ASL 14.3 submitted by Isilda Castro;

Bloody Mondays & Strawberry Pies: 7 ASL 9.9 submitted by Thomas de Boer;

Inception: 7 ASL 56.9 submitted by Sari Bouwmeester;

The Adventures of Tintin: 7 ASL 5.9 submitted by Djoeke Oeij;

Heel Holland Bakt aflevering 1: 7 ASL 2.8 submitted by Francine;

Top Gun: 7 ASL 3.7; Mahanagar: 7 ASL 3.6 submitted by Isabeau van der Vlies;

(scene) Tokio Story - too late and too drunk: 7 ASL 14.7 submitted by Camille Rebelo;

Gravity: 7 ASL 25.6 submitted by Melissa Vos;

Masterchef Holland afleving 5: 7 ASL 2.9 submitted by Francine;

Scene - Mahanagar (Last Scene): 7 ASL 6.6 submitted by Ricardo Pinto;

Mahanagar: 7 ASL 6.6 submitted by Camille Rebelo;

Mahanagar: 7 ASL 6.6 submitted by SoniaVinagre;

Breakfast at Tiffany's: 7 ASL 10.2 submitted by Celeste de Vrij;

4 luni, 3 saptamni si 2 zile: 7 ASL 90.8 submitted by Tim Verhoeven;

Inglourious Basterds: 7 ASL 5.8 submitted by Tereza Blahuskova;

vw ad: 7 ASL 1 submitted by david;

Ishanou: 7 ASL 13.9 submitted by KAMALJIT CHIROM;

Whiplash: 7 ASL 4.1 submitted by Michelle Versluis;

Heel Holland Bakt aflevering 5: 7 ASL 6.5; Masterchef Holland aflevering 5: 7 ASL 16.1 submitted by Francine;

Petropolis: Aerial Perspectives On the Alberta Tar Sands: 7 ASL 49.1 submitted by William J.J. Pristanski.

Date: 2015-09-26 Posted by: Yuri Tsivian

Good news from the end of September,

New films submitted by old & new hands (welcome aboard!)

Oh Doctor!: 7 ASL 5.9 ; Fatty's New Role: 7 ASL 8 ; Heart of the world, the: 7 ASL 1 ; That Night's Wife: 7 ASL 5.8 ; Dragnet Girl: 7 ASL 4.1 ; Walk Cheerfully: 7 ASL 5.5 ; Rock'y VI: 7 ASL 3.7 submitted by Mohsen Nasrin;

Mayis Sikintisi (Clouds of May): 7 ASL 14.1 submitted by Cagri Inceoglu;

Dark Water: 7 ASL 11.5 submitted by Amy Welten;

Last tango in Paris: 7 ASL 15 submitted by Milou;

Det Sjunde Inseglet: 7 ASL 10.3 submitted by Bram van Kaauwen;

Run Lola Run: 7 ASL 3.6 submitted by Sari Bouweester;

Persona: 7 ASL 15.6 submitted by Yvonne Festl;

In the Mood for Love: 7 ASL 13.6 submitted by Niels Lodeweges;

8 femmes: 7 ASL 8.4 submitted by Michelle ;

Drunken Master: 7 ASL 5.6 submitted by Gabriella Lahdo;

Dogville: 7 ASL 6.7 submitted by Melissa Vos;

Last Tango in Paris: 7 ASL 14.4 submitted by Vincent Tramper;

Audition: 7 ASL 10.4 submitted by William Newcastle;

De Vierde Man: 7 ASL 8.1 submitted by Yori Thijssen;

Hiroshima, Mon Amour: 7 ASL 12.6 submitted by celeste;

Turks Fruit: 7 ASL 6.7 submitted by Timo te Moller;

8 Femmes: 7 ASL 8.8 submitted by Amber Damwijk;

Bourne Supremacy: 7 ASL 1.1 submitted by Bernardo Queiroz;

Perfume: The Story Of A Murderer: 7 ASL 3.7 submitted by Daan Brem;

De Jurk: 7 ASL 7.8 submitted by Renee van Gils;

House of Flying Daggers: 7 ASL 4.7 submitted by Alicia Hack;

Woman in the Dunes: 7 ASL 15.9; Woman in the Dunes: 7 ASL 14.9 submitted by Marloes Stapper;

Hiroshima Mon Amour: 7 ASL 14.2 submitted by Isabeau van der Vlies;

De Jurk: 7 ASL 6.4 submitted by Pim Prins;

De Vierde Man: 7 ASL 8 submitted by Jelle Strikwerda;

House Of Flying Daggers: 7 ASL 5.2 submitted by Rens Bleijenberg;

Lola Rennt: 7 ASL 3.4 submitted by Loes Brinkman;

Terminator 2: Judment Day: 7 ASL 1.6 submitted by Bernardo Queiroz;

Pastorale 1943: 7 ASL 16.2 submitted by Naomi van Soest;

De Vierde Man: 7 ASL 9.1 submitted by Marlijn Cats;

Dogville: 7 ASL 8.7 submitted by Brechje Huisma;

Kagemusha: 7 ASL 12.3 submitted by Jasper van Ham;

Pastorale 1943: 7 ASL 14.3 submitted by Charlotte van Roosmalen;

Det sjunde inseglet: 7 ASL 10.3 submitted by Tim Verhoeven;

Perfume: 7 ASL 3.6 submitted by Aukje Bink; Perfume 2: 7 ASL 3.4 submitted by Aukje Bink;

Last Tango in Paris: 7 ASL 15.6 submitted by Gina de Wit;

The 400 Blows: 7 ASL 15.4 submitted by Femke Sue van Bragt;

Turks Fruit: 7 ASL 6.3 submitted by Gaby Boterkooper;

Turks Fruit: 7 ASL 6.7 submitted by Julia Bakker;

De Jurk: 7 ASL 6.8 submitted by Iris Matters;

Persona: 7 ASL 15.5 submitted by Hugo Emmerzael;

Abel: 7 ASL 8.3 submitted by Cecile Trooster;

8 Femmes: 7 ASL 6.7 submitted by Bos;

Lola Rennt: 7 ASL 3.5 submitted by Frederique Rinkens;

Jui Kuen (Drunken Master): 7 ASL 5.2 submitted by Dion Cevikcan;

Raise the Red Lantern: 7 ASL 9.5; Raise the Red Lantern (2): 7 ASL 9.5 submitted by Maaike van der Horst;

Dancer in the Dark: 7 ASL 6.2 submitted by Melanie Oostveen;

House of Flying Dagger: 7 ASL 4.2 submitted by Pieter Schenk;

Dogville: 7 ASL 7.3 submitted by Julia;

Perfume: The Story of a Murderer: 7 ASL 3.9 submitted by Isabel Spit;

Pastorale 1943: 7 ASL 13.7 submitted by Lisa van de Ruit;

Les quatre cent coups: 7 ASL 15.4 submitted by Marlijn Hegge;

Hero: 7 ASL 3.3 submitted by Youri Tonk;

Perfum 3: 7 ASL 5 submitted by Aukje Bink;

Drunken Master: 7 ASL 5.1 submitted by Fay Conrad;

Persona: 7 ASL 22.5; Persona eerste twee min: 7 ASL 4.8 submitted by Yolanda;

Abel: 7 ASL 6.5 submitted by Willem Hilhorst;

Dancer in the Dark: 7 ASL 5.8 submitted by Laura Schenkels;

Abel: 7 ASL 6.6 submitted by Cecile Trooster;

Dancer in the Dark: 7 ASL 5 submitted by Ellen.

Date: 2015-08-29 Posted by: Yuri Tsivian

Good news from the end of August.

Article co-written by Mike Baxter, Daria Khitrova and Yuri Tsivian (me) "Exploring Cutting Structure in Film, with Applications to the Films of D.W. Griffith, Mack Sennett, and Charlie Chaplin" was published yesterday in Digital Scholarship in the Humanities. The study (to be included as one of the chapters in the book by the three of us on the history of film editing) is based on data collected/stored on the Cinemetrics database and analysed in a number of Cinemetrics Labs. Take a look here or download a pdf here

New films, newcomers (welcome aboard!)

Lawless: 7 ASL 4.1 submitted by Nia;

Uzak: 7 ASL 23.7 ; Bir Zamanlar Anadolu'da: 7 ASL 19.1 submitted by Cagri Inceoglu;

Sleeping Beauty: 7 ASL 70 ; Mama: 7 ASL 5.5 submitted by Mohsen Nasrin;

Walzerkrieg: 7 ASL 7.8 submitted by Charles O'Brien;

"La source des femmes": 7 ASL 4.6 submitted by Nikoleta Antoniou;

Before Sunrise: 7 ASL 10.6 submitted by Marina Titova;

Astral City: A Spiritual Journey: 7 ASL 6.6 submitted by Dimitra Margaritidou;

Conception: 7 ASL 6 submitted by Ilias Charitonidis;

Date: 2015-08-08 Posted by: Yuri Tsivian

Good news from early August.

Only Cinemetrics veterans, it seems, continue to submit data in midsummer. Namely:

Einmal der liebe Herrgott sein: 7 ASL 16.5; Dr. Crippen an Bord: 7 ASL 11; Die Zaubergeige: 7 ASL 10.2; Floh im Ohr: 7 ASL 11.1 submitted by Armin Jaeger;

Leise flehen meine Lieder: 7 ASL 8.6; Tanned Legs: 7 ASL 10.4; Kiki: 7 ASL 11.6 submitted by Charles O'Brien;

Psycho: 7 ASL 6.4; Psycho: 7 ASL 6; Psycho (reduced): 7 ASL 6.3 submitted by Barry Salt;

R100 : 7 ASL 7.2 submitted by Mohsen Nasrin;

Pillow Talk: 7 ASL 9.5 ; Gunfight at Dodge City, The: 7 ASL 12.1 ; Scarlet Coat, The: 7 ASL 8.9 ; Young Lions, The: 7 ASL 9 ; First Texan, The: 7 ASL 9 submitted by Sam Roggen.

Date: 2015-07-04 Posted by: Yuri Tsivian

Good news from the first week of July.

Sam Roggen has sent us a lucid description of his research project, look here. It's a useful thing to know, and I encourage anyone using Cinemetrics to use our Discussion Board to give others a sense of your research agenda.

Barry Salt has expanded his study "How They Cut Dialogue Scenes" with new thoughts and data, find the updated version here.

New films and newcomers (welcome aboard!):

Furies, The: 7 ASL 10.2 ; Winchester '73: 7 ASL 8.6 ; Heaven Knows, Mr. Allison: 7 ASL 8.6 ; House of Bamboo: 7 ASL 14 ; Black Shield of Walworth, The: 7 ASL 9 ; Kiss Them for Me: 7 ASL 15.3 ; These Thousand Hills: 7 ASL 8.1 submitted by Sam Roggen;

Clerks: 7 ASL 6.5 ; Clerks (Juxtaposition and Catharsis): 7 ASL 7.8 submitted by Abram Blau;

Rushmore: 7 ASL 6.3 submitted by Marcus Guerrier;

Anatomy 2: 7 ASL 3.8 ; Love Parade, The (March of the Grenadiers): 7 ASL 7.6 submitted by Mohsen Nasrin;

Der Mann, dem man den Namen stahl: 7 ASL 10.5 ; Spuk im Schloss: 7 ASL 10.4 ; Dir zuliebe: 7 ASL 13.9 ; Ich brauche dich: 7 ASL 11.4 ; Sieben Briefe: 7 ASL 8.7 ; Es lebe die Liebe: 7 ASL 13.8 ; Melusine: 7 ASL 11.1 ; Moselfahrt mit Monika: 7 ASL 9.2 ; Sommernaechte: 7 ASL 11.8 ; Hundstage: 7 ASL 9 ; Der Meisterdetektiv: 7 ASL 19.4 ; Seine beste Rolle: 7 ASL 13.8 ; Glueck bei Frauen: 7 ASL 9.6 ; Der Majoratsherr: 7 ASL 12.3 ; Ich hab' von dir getraeumt: 7 ASL 8.2 ; Leichtes Blut: 7 ASL 11.5 ; Der zweite Schuss: 7 ASL 15.3 ; Junge Herzen: 7 ASL 9.2 ; Familie Buchholz: 7 ASL 13.6 submitted by Armin Jaeger;

Sunny Side Up: 7 ASL 16.3 ; Glorifying the American Girl: 7 ASL 12.5 ; Big Broadcast, The: 7 ASL 8.5 ; Big Pond, The: 7 ASL 11.9 ; Girl Crazy: 7 ASL 7.7 ; Playboy of Paris, The: 7 ASL 9.6 ; Monte Carlo: 7 ASL 10.8 ; Smiling Lieutenant, The: 7 ASL 10.5 submitted by Charles O'Brien;

News from Home: 7 ASL 92.5 submitted by Anne Eakin Moss;

Shame: 7 ASL 23.4 submitted by David Hall;

The Flower: 7 ASL 15.2 submitted by Kristof Boghe;

Rushmore: 7 ASL 7.4 submitted by Marcus Guerrier.

Date: 2015-06-27 Posted by: Yuri Tsivian

Good news from the end of June.

1) New films and newcomers (welcome abourd!)

High and the Mighty, The: 7 ASL 10.6 ; Devil's Doorway: 7 ASL 9.7 submitted by Sam Roggen;

The Singing Fool: 7 ASL 8.4 submitted by Charles O'Brien; Sunny Side Up: 7 ASL 16.3 submitted by Charles O'Brien;

La Chambre: 7 ASL 130 submitted by Anne Eakin Moss;

Happy Day: 7 ASL 2.7 ; Happy Day Part 2: 7 ASL 4.2 submitted by Carol Withers;

Les Bougon QC S2.e7 Seduisance: 7 ASL 3.8 ; Les Bougon QC S2e9 Au travail: 7 ASL 3.7 ; Les Bougon QC S2E10 Placer Pepere: 7 ASL 4.4 ; Les Bougon QC S2e11 Deuil National : 7 ASL 3.7 ; Les Bougon FR e6. Fiction ou realite: 7 ASL 3.3 ; Les Bougon QC s2e16 Temps moderne: 7 ASL 3.3 ; Les Bougon FR e6. Chaud devant: 7 ASL 3.5 ; Les Bougon FR e7. Faux depart: 7 ASL 4.1 ; Les Bougon s2e20 Benevolat: 7 ASL 3.8 ; Les Bougon FR e8 Diplome Pudding: 7 ASL 3 submitted by Landry Digeon;

V/H/S: 7 ASL 81.5 submitted by the sick thing that happened to emily;

Lebanon: 7 ASL 5.8 ; Lebanon: 7 ASL 11.2 submitted by Jung-min Yeo;

Clerks (Juxtaposition and Catharsis): 7 ASL 7.8; Clerks: 7 ASL 6.5 submitted by Abram Blau;

Rushmore: 7 ASL 6.3 submitted by Marcus Guerrier;

Anatomy 2: 7 ASL 3.8 submitted by Mohsen Nasrin;

Der Mann, dem man den Namen stahl: 7 ASL 10.5 submitted by Armin Jaeger;

News from Home: 7 ASL 92.5 submitted by Anne Eakin Moss;

Shame: 7 ASL 23.4 submitted by David Hall;

2) Old news worth repeating: a review of the recent Cinemetrics conference (University of Chicago, April 30-May 3) is here.

Date: 2015-06-13 Posted by: Yuri Tsivian

Good news from mid-June.

1) Old good news worth keeping in the news: anyone interested in reading a review of the recent Cinemetrics conference (University of Chicago, April 30-May 3) is welcome here.

2) Juho Ahava, a student from Finland studying Lev Kuleshov at the University of Iowa, sent us this interesting link to an essay about the editing of Mad Max: Fury Road. It confirms one of Tim Smith's hypothesis whose Attentional Theory of Cinematic Continuity includes the center-frame positioning into the list of factors responsible for "cut blindnes" -- our brain's ability to gloss over splices between shots.

3) New film submisssins and new comers (welcome aboard!):

Mit meinen Augen: 7 ASL 12.6 ; Vier Treppen rechts: 7 ASL 11.5 ; Wie sagen wir es unseren Kindern?: 7 ASL 10.9 ; Eine alltaegliche Geschichte: 7 ASL 16.6 ; Raetsel der Nacht: 7 ASL 10.3 ; Der Posaunist: 7 ASL 8.5 ; Ein toller Tag: 7 ASL 7.6 ; Intimitaeten: 7 ASL 17.5 ; Der gruene Salon: 7 ASL 10.2 ; Spiel: 7 ASL 11.3 ; Erzieherin gesucht: 7 ASL 10 ; Glueck muss man haben: 7 ASL 14.8 ; Frech und verliebt: 7 ASL 17.8 ; Das fremde Leben: 7 ASL 13 ; Es fing so harmlos an: 7 ASL 11.6 ; Der kleine Muck: 7 ASL 8.4 submitted by Armin Jaeger;

Les bougon FR e4 Justice pour tous : 7 ASL 3.6 ; Les Bougon FR 3 Mains propres, Argent Sale: 7 ASL 3.5 ; Les Bougon FR e5. Journee de reve: 7 ASL 3.6 ; Les Bougon S2 e1 Communautaire: 7 ASL 3.5 ; Les Bougon s2e5 Un futur souvenir: 7 ASL 3.6 ; Les Bougon S1e1 Petits plaisir Test : 7 ASL 3.1 submitted by Landry Digeon;

Ich und die Kaiserin: 7 ASL 6.4 ; Arm wie eine Kirchenmaus: 7 ASL 27.7 ; Quick: 7 ASL 13.3 submitted by Charles O'Brien;

Nigella Bites narrative form: 7 ASL 3.7 submitted by Nadia Khaleghi;

Jubal: 7 ASL 7.7 ; Naked Spur, The: 7 ASL 7.8 ; God??�s Little Acre: 7 ASL 17.2 ; Kentuckian, The: 7 ASL 7.4 ; D-Day the Sixth of June: 7 ASL 13.3 submitted by Sam Roggen;

Go PRo: 7 ASL 2.1 ; Cut: 7 ASL 81.9 submitted by Nabaneet Bora;

Bomben auf Monte Carlo: 7 ASL 11.1 ; Einbrecher: 7 ASL 11.6; Ein Lied, ein Kuss, ein Madel: 7 ASL 12.6 ; Die verliebte Firme: 7 ASL 9.4 submitted by Charles O'Brien;

Recuerdos (Ana Bovea): 7 ASL 0.7 submitted by Victoria de la Cruz;

Fish: 7 ASL 7.2 submitted by Gear;

A CAIXA: 7 ASL 4.6 submitted by Julio Alves;

The General: 7 ASL 7.2 submitted by HS;

Law of Enclosures, The: 7 ASL 6.8 submitted by Mohsen Nasrin.

Date: 2015-06-06 Posted by: Yuri Tsivian

Let me duplicate the good news reported in the news last week. A review of the recent Cinemetrics conference (University of Chicago, April 30-May 3) can be read here.

New films and newcomers (welcome aboard!):

Family That Eats Soil, The: 7 ASL 6.1 submitted by Mohsen Nasrin;

Drei von der Tankstelle, Die: 7 ASL 12.2 ; Viktor und Viktoria: 7 ASL 9.5 ; Kongress tanzt, Der: 7 ASL 17.4 ; Ich und die Kaiserin: 7 ASL 6.4 ; Bomben auf Monte Carlo: 7 ASL 11.1 ; Einbrecher: 7 ASL 11.6 submitted by Charles O'Brien;

Thunder Bay: 7 ASL 8.5 ; My Sister Eileen: 7 ASL 13.1 ; New Faces: 7 ASL 34.7 ; Jubal: 7 ASL 7.7 submitted by Sam Roggen;

Philine: 7 ASL 18.2; Wie ein Dieb in der Nacht: 7 ASL 11.8; Ein Mann gehoert ins Haus: 7 ASL 12.1; Mit meinen Augen: 7 ASL 12.6; Vier Treppen rechts: 7 ASL 11.5; Wie sagen wir es unseren Kindern?: 7 ASL 10.9; Eine alltaegliche Geschichte: 7 ASL 16.6;