C:/Users/Michael/Cinemetrics/bibliography with essay.dvi Cinemetrics – a bibliography Mike Baxter1, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, UK (e-mail: michaelj.baxter@btconnect.com) October 2014 Introduction This is work in progress and will be added to from time to time and updated on my website, http://www.mikemetrics.com/. The original idea was to list cinemetric publications with a strong statistical component on the website, but the number is steadily increasing so it is going to be more efficient to make this available as a pdf file. I’ve written in more detail about the statistical aspects of cinemetrics elsewhere, Notes on Cinemetric Data Analysis, in what is effectively a book that can be accessed from my website and academia.edu page for free, so I will keep this introduction fairly short. The Cinemetrics website established by Yuri Tsivian in 2005 is important for many reasons. It draws some of its inspiration from the work of Barry Salt, particularly his 1974 paper listed below. This was well ahead of its time. A lot of the ideas it embodies couldn’t easily be implemented with the computing power available at the time. This has now changed and Cinemetrics is one manifestation of this. Among other things it eases the problem of collecting data and interrogating it. There are issues about accuracy – the source material, frame-accurate measurement, the actual analysis of the data, and so on. The issues are being addressed. One thing that interests me is the nature of publication. This is changing rapidly. What you might call ‘conventional’ journals that deal with film studies are frightened to publish anything involving quantitative ideas that the editors judge might scare, or be incomprehensible to, their readers. This is an understandable, if frustrating, point of view if you want to get ideas of the quantitative analysis of ‘filmic analysis’ into the public domain. I’ve experienced this and know I am not alone. A lot of what’s listed below, for the reasons I’ve outlined above, is on the web rather than in journals. Apart from the people name-checked above there is an interesting body of work by Nick Redfern, and James Cutting and his colleagues. This will be obvious fron the Bibliography. The various people involved do not necessarily agree with each other’s ideas (myself included) and there is a certain amount of what you might call ‘combative’ debate about this, a lot of which can be viewed on the Cinemetrics website. In some ways this ‘internal dissent’ about quantitative methodology distracts from the possibility that the quantitative study of film can add to your knowledge about film. It does; it’s just one way of looking at film; and how you rate it depends on what your interests are. The study of montage in early (the 1910s) film has benefited from quantitative analysis 1Emeritus Professor of Statistical Archaeology, Nottingham Trent University, UK 1 through the work of Yuri Tsivian and colleagues. If you want to see what some of this is, there are video presentations of talks at a conference sponsored by the Neubauer Collegium at the University of Chicago2. So I think this is all interesting; it is what academic study is about; you do things, sit back, and see what happens. The present bibliography is intended as a resource. A fwe refences that are not strictly ‘cinemetric’ but involve the analysis of ‘filmic’ data are included. Bibliography References [1] Adams B., Dorai C. and Venkatesh S. (2000) Towards automatic extraction of ex- pressive elements from motion pictures: Tempo. IEEE International Conference on Multimedia and Expo, 2000, Vol. II, 641-645. [2] Adams B., Dorai C. and Venkatesh S. (2002) Formulating film tempo: the computa- tional media aesthetics methodology in practice. In C Dorai and S Venkatesh (eds.) Media Computing: Computational Media Aesthetics. Norwell, MA: Kluwer Academic Publishers, 57-84. [3] Adams B., Venkatesh S., Bui H.H. and Dorai C. (2005) A probabilistic framework for extracting narrative act boundaries and semantics in motion pictures. Multimedia Tools and Applications 27, 195-213. [4] Rubio Alcover, A. and Samit, A. T. (2013) Three neoclassicisms. Exploring the pos- sibilities of a comparative Average Shot Length through Clint Eastwood, Brian De Palma and Woody Allen. Icono 14 11, 295-329. [5] Baxter M. (2012a) Film statistics: some observations, http://www.cinemetrics.lv/dev/on statistics.php [6] Baxter M. (2012b) Film statistics: further observations. http://www.cinemetrics.lv/dev/on statistics.php [7] Baxter M. (2012c) Picturing the pictures: Hitchcock, statistics and film. Significance 9, 5-9. [8] Baxter M. (2013a) Lines, damned lines and statistics. http://www.cinemetrics.lv/dev/on statistics.php [9] Baxter M. (2013b) Comparing cutting patterns a working paper. http://www.cinemetrics.lv/dev/on statistics.php 2http://neubauercollegium.uchicago.edu/events/uc/Cinemetrics-Conference/ 2 [10] Baxter M. (2013b) Cutting patterns in D.W. Griffiths Biographs: An experimental statistical study. http://www.cinemetrics.lv/dev/on statistics.php [11] Baxter M. (2013d) On the distributional regularity of shot lengths in film. Literary and Linguistic Computing, doi:10.1093/llc/fqt041 [12] Baxter M. (2013e) Evolution in Hollywood editing patterns? http://www.cinemetrics.lv/dev/Evolution paper for Cinemetrics.pdf [13] Baxter M. (2014a) Cutting patterns in D.W. Griffiths silent feature films. http://www.academia.edu/5684527/Cutting patterns in D.W. Griffiths silent feature films [14] Baxter M. (2014a) On the graphical comparison of cutting-rates across bodies of films: with applications to the films of Mack Sennett and Charlie Chaplin. http://www.academia.edu/5694380/On the graphical comparison of cutting- rates across bodies of films with applications to the films of Mack Sennett and Charlie Chaplin [15] Baxter M. (2014c) Further comments on evolution in Hollywood film: the role of models. http://www.cinemetrics.lv/dev/Baxter Cutting and cinemetrics.pdf [16] Buckland W. (2008) What does the statistical style analysis of film involve? A review of ’Moving Into Pictures. More on Film History, Style, and Analysis’. Literary and Linguistic Computing 23, 219-230. [17] Buckland W. (2009) Ghost director. In Digital Tools in Media Studies, M. Ross, M. Grauer and B. Freisleben (eds.), transcript Verlag, Bielefeld, Germany, 133-144. [18] Cutting, J.E. (2014) More on the evolution of popular film editing. http://www.cinemetrics.lv/dev/cuttingcinemetricx3.pdf [19] Cutting J.E., DeLong J.E. and Nothelfer C.E. (2010) Attention and the evolution of Hollywood film. Psychological Science 21, 440-447. [20] Cutting J.E., Brunik K.L. and DeLong J.E., (2011a) The changing poetics of the dissolve in Hollywood film. Empirical Studies of the Arts 29, 149-169. [21] Cutting J.E., Brunik K.L. and DeLong J.E., (2011b) How act structure sculpts shot lengths and shot transitions in Hollywood film. Projections 5, 1-16. [22] Cutting J.E., Brunik K.L. and DeLong J.E., (2012) On shot lengths and film acts: A revised view. Projections 6, 142-145. [23] Cutting J.E., Brunik K.L., DeLong J.E., Iricinschi C. and Candan A, (2011) Quicker, faster, darker: Changes in Hollywood film over 75 years. i-Perception 2, 569-576. 3 [24] Cutting J.E., DeLong J.E. and Brunik K.L. (2011) Visual activity in Hollywood film: 1935 to 2005 and beyond. Psychology of Aesthetics, Creativity, and the Arts 5, 115- 125. [25] Cutting, J. E. and Candan, A. (2013). Movies, evolution, and mind: From fragmen- tation to continuity. The Evolutionary Review 4, 25-35. [26] Cutting, J.E., Iricinschi C. and Brunick, K.L. (2013) Mapping Narrative Space in Hollywood Film. Projections 7, 64-91. [27] DeLong J.E., Brunik K.L. and Cutting J.E. (2012) Film through the human visual system: finding patterns and limits. In The Social Science of Cinema, J.C. Kaufman and D.K. Simonton (eds.), Oxford University Press, New York, in press. [28] DeLong, J.E. (2013) Horseshoes, handgrenades, and model fitting: the lognormal distribution is a pretty good model for shot-length distribution of Hollywood films. Literary and Linguistic Computing, doi:10.1093/llc/fqt030 [29] Grzybek P. and Koch V. (2012) Shot length: random or rigid, choice or chance? An analysis of Lev Kuleov’s Po zakonu [By the Law]. In Sign Culture. Zeichen Kultur, E.W.B. Hess-Lüttich, ed., Königshausen & Neumann: Würzburg, 169-188. [30] Han X,, Small S.D., Foster D.P. and Patel V. (2011) The effect of winning an Oscar award on survival: correcting for healthy performer survivor bias with a rank pre- serving structural accelerated failure time model. The Annals of Applied Statistics 5, 746772. [31] Manovich, L. (2013) Visualizing Vertov. http://softwarestudies.com/cultural analytics/Manovich.Visualizing Vertov.2013.pdf [32] Murtagh F., Ganz A. and McKie S, (2009) The structure of narrative: the case of film scripts Pattern Recognition 42, 302-312. [33] O’Brien C. (2005) Cinema’s Conversion to Sound. Bloomington, IN: Indiana Univer- sity Press. [34] Redelmeier D,A. and Singh S.M. (2001) Survival in Academy Award-winning actors and actresses. Annals of Internal Medicine 134, 955-62. [35] Redelmeier D.A. and Singh S.M. (2006) Reanalysis of survival of Oscar winners. An- nals of Internal Medicine 145, 392393. [36] Redfern N. (2009a) Shot length distributions in the Chaplin Keystones, http://nickredfern.files.wordpress.com/2009/09/nick-redfern-shot-length-distributions-in-the- chaplin-keystones1.pdf 4 [37] Redfern N. (2009b) The impact of sound technology on the distribution of shot lengths in motion pictures, http://nickredfern.files.wordpress.com/2009/09/nick-redfern-the-impact-of- sound-technology-on-hollywood-film-style1.pdf [38] Redfern N. (2010a) Shot length distributions in the early films of Charles Chaplin, http://nickredfern.files.wordpress.com/2010/04/nick-redfern-shot-length-distributions-in- the-early-films-of-charles-chaplin.pdf [39] Redfern N. (2010b) Shot length distributions in the films of Alfred Hitchcock, 1927 to 1931, http://nickredfern.files.wordpress.com/2010/05/nick-redfern-shot-length-distributions-in-the- films-of-alfred-hitchcock-1927-to-1931.pdf [40] Redfern N. (2010c) Robust measures of scale for shot length distributions, http://nickredfern.files.wordpress.com/2010/07/nick-redfern-robust-measures-of-scale-for-shot- length-distributions.pdf [41] Redfern N. (2010d) Shot length distributions in the short films of Laurel and Hardy, 1927 to 1933, http://nickredfern.files.wordpress.com/2010/10/nick-redfern-shot-length- distributions-in-the-short-films-of-laurel-and-hardy.pdf [42] Redfern N. (2010e) Statistical analysis of shot types in the films of Al- fred Hitchcock, http://nickredfern.files.wordpress.com/2010/11/nick-redfern-statistical-analysis- of-shot-types-in-the-films-of-alfred-hitchcock.pdf [43] Redfern N. (2011a) Time series analysis of BBC News bulletins using running Mann- Whitney Z statistics, http://nickredfern.files.wordpress.com/2011/07/nick-redfern-time-series- analysis-of-bbc-news-bulletins1.pdf [44] Redfern N. 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