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Media Contagion

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The concept of iatrogenesis, native to medicine, describes misfortunes that would not occur but for one’s interaction with medicine itself. For example, the case of COVID you catch in the doctor’s waiting room or the elective surgery that impinges on a vein, which throws a clot, causing a stroke. Shockingly, medical iatrogenesis is the fifth leading cause of death worldwide.

Journalism’s iatrogenic damage may be less dramatic, but it is surely more pervasive because there is no escape from exposure. Avoid consuming news and you still will be passively subject to the media’s effect on your environment. Even for a long-time media whistleblower like Bernard Goldberg, such epiphanies can take a while to crystalize. Here’s the operative passage of a recent column:

I’ve been thinking a lot lately about my profession. I always knew that journalism was fundamentally a pursuit of the negative, that we mainly report about bad things that happen, but I never gave much thought to how all that negativity affects us—it affects how we see things, especially how we see the country we live in.

It’s not just that most news is bad news and that bad news is inherently more compelling. It’s that the news frequently misrepresents reality, setting in motion a cascade of tangible and intangible harms. For journalism is not the passive entity many think it is—it alters life by observing it. While neither Goldberg nor any other media denizen is likely to allege that journalism does more harm than good, it surely does too much harm, and that harm is increasing.

Of tide and tumult

The potency of advertising, especially saturation advertising, is now beyond reasonable dispute. Tide may or may not be your best option for keeping clothes clean and springtime fresh, but it’s the top-selling detergent in the US by a wide margin, doubling its nearest competitor in revenues—and Procter & Gamble has spent a fortune to engineer that outcome and keep Tide’s orange trade dress front-of-mind for American housewives.

Today’s 24/7 news cycle is, by its nature, a saturation ad campaign for the zeitgeist, the world in which we supposedly live. This is particularly noticeable in coverage of major themes like crime, race, and politics, which is brassy and unrelenting and helps to cement our perception of Truth. America’s flagship all-news radio station, New York’s WINS, says this explicitly (albeit erroneously) in its famous slogan: “You give us 22 minutes, we’ll give you the world.”

As print journalism gave way to broadcast, and the news business became more advertising-like, it acquired exponentially more psychological gravitas. There is a world of difference between (1) writing “the US is using the incendiary substance napalm to denude the forests where Viet Cong sharpshooters hide” and (2) showing a scalded little girl running along a road with her clothes burned off her naked body. The first is a description, the second is an indelible atrocity. Similarly, there is a world of difference between (1) saying “a black man died in police custody” and (2) showing the full, agonizing 9 minutes and 29 seconds of the George Floyd video over and over again for months. The latter is the journalistic equivalent of P&G’s $10 billion saturation ad spend.

None of which would matter much if journalism did indeed give us “our world.” But journalism covers life in terms of what it isn’t. The iconic WINS slogan has it backwards. In its most basic sense, newsworthiness is built on atypicality—Man Bites Dog is more newsworthy than the reverse. Or as the newsroom maxim has it, “Nobody writes stories about the planes that land.” So when a plane goes down, the media coverage is giving you a high-resolution snapshot of a vanishingly rare event. On any normal day, around 28,500 commercial flights take off, fly to their destination, and land without incident.

An event like 9/11 may be momentous, even epochal, but it is not everyday life. By definition. It is a negative image of life in both the photographic and tonal senses. Every day, the news media provide a smorgasbord of stories that, despite their disparate topics, blend into a common theme: They are those rare instances in which, metaphorically speaking, the plane did not land.

Nationwide, the chances that you will be shot to death in the US this year are 0.006 percent (although that figure will vary from state to state and neighborhood to neighborhood). That is, six-thousandths of one percent. As for “assault rifles” like the AR-15, a firearm with which reporting on this topic is particularly preoccupied, reliable data are hard to come by. Such weapons are lumped in with all rifles in the FBI’s accounting, but rifles as a class figured in just three percent of the 19,384 gun homicides in 2020—about 580 deaths. Inasmuch as assault weapons constitute just part of the category, you had a less than one in 570,000 chance of being killed with such a firearm that year.

“Between 2007 and 2017,” notes the Foundation for Economic Freedom, “nearly 1,700 people were murdered with a knife or sharp object per year. That’s almost four times the number of people murdered by an assailant with any sort of rifle” [emphasis in original]. If it does not feel that way, it’s because of the nightly sturm und drang on CNN et al, which unfolds as an unending cavalcade of gun homicides, often with an “AR-15-style” weapon.

In 2007, the Virginia Tech mass shooting alone claimed the lives of 33 people (including the shooter). But if we set this anomaly aside, between 2001 and 2018, annual homicides on American college campuses, which collectively serve some 17.9 million students, ranged between 11 (2014) and 28 (2015). This puts the average risk of being murdered at about one in 1.2 million, far lower than many other risks we assume in daily life. Nevertheless, wall-to-wall coverage of events like the 2022 massacre of four students in Idaho yield polls in which over 82 percent of students say they fear for their safety on campus.

Several reasons beyond the sheer power of advertising explain why we don’t see the news as a walking tour through marginalia. When we consume journalism, the true prevalence of reported phenomena remains unknown to us. We’re inclined to take what we see at face value; if a story made the news it is newsworthy, ipso facto. This can produce availability bias, which leads us to rely upon easily recalled examples when making decisions and assume that those examples are representative when they may not be.

Further, ratings and other imperatives demand that sensational stories crowd out all others. So what ends up on the news is tantalizing and memorable (“If it bleeds, it leads”). Finally, newspeople work hard to dispel the notion that they trade in trivia, loath as they are to diminish their status as cultural shamans. Skilled at heightening immediacy and drama, anchors make everything seem epochal or part of some “bigger story.”

The extent of this distortive effect became clear in a 2019 Gallup poll that surveyed respondents on crime. Just 13 percent rated crime in their own neighborhoods as “very serious” or “extremely serious.” Yet 52 percent deemed crime in America to be a whole “very serious” or “extremely serious.” If crime were as rampant nationally as respondents believed it to be, how could some 87 percent of respondents feel safe in their “own neighborhoods”? Such a skew can only be understood in terms of the macro impressions consumers infer from the news.

Media coverage makes obscurity seem like ubiquity. The endemic nature of this circumstance means that, even at its best, journalism will give rise to fallacious assumptions about reality. Worse, today’s activist journalists don’t leave that to chance. But I won’t dispense another jeremiad about news bias, which has been amply litigated in this space and elsewhere. I want to focus here on the impact of these misleading visions of life.

Over-coverage of obscure risks, in particular, magnifies those risks in the public mind, sparking avoidance behaviors and other adaptations. Terrify American consumers over an illusory Mad Cow “outbreak” and even hamburger fanatics will stop buying hashed meat. Hype the dangers posed by a deer tick that turned up somewhere and families cancel much-anticipated vacations to national parks.

Stories about one-off occurrences can restitch the fabric of American life. A recent web search of the term “trans swimmer” returned 250 million hits, yet the first dozen pages were almost exclusively devoted to a single individual, Lia Thomas. By my estimation, every major media organization ran dozens of stories on Thomas. Just Thomas. That media furor sparked all manner of social discord and even legislation, widening the chasm between people already self-sorted into tribes. All this due to stories about one of 330 million Americans.

The simplistic, anecdotal coverage of the cultural divide, with its overwrought sagas of Karens versus women of color or Christian homophobes versus drag queens, undermines cohesion and makes people more likely to retreat into their echo chambers.

Death by media

Today’s saturation coverage of mental health and American hopelessness is unprecedented. Thinkpieces and news reports brim with hotline numbers. Celebs record PSAs urging self-care and therapy. And yet suicide is an intractable phenomenon, with rates worsening in almost every state in recent years. How can this be? Psychologists believe that no matter what the media say about suicide, the coverage itself is effectively advertising death as an option. The more you cover it, the more tempting it becomes.

The suicide-by-hanging of Robin Williams in early August 2014 occasioned a tsunami of media coverage and attendant handwringing. In the ensuing four months, America saw a nearly 10 percent increase in suicides—an additional 1,841 deaths over the expected base rate. As a researcher told CNN, “We found both a rapid increase in suicides in August 2014, specifically suffocation suicides, that paralleled the time and method of Williams’ death.” Extensive studies are increasingly resolving into settled science: The CDC now issues pointed bulletins urging caution in the breadth and nature of coverage of suicide.

Nor is this the only type of contagion. “Mass shootings are on the rise and so is media coverage of them,” writes Jennifer Johnston, PhD, of Western New Mexico University. Though that might seem like a chicken/egg scenario, Johnston and a coauthor studied a slew of such incidents, how those incidents were reported, existing literature on shootings, and FBI data. They concluded that “media contagion” is largely responsible for the sharp uptick in mass shootings.

Johnson is skeptical of the media’s motives, alleging that journalists bloviating about “the public’s right to know covers up a greedier agenda, to keep eyeballs glued to screens, since they know that frightening homicides are their No. 1 ratings and advertising boosters.” She notes that the shooters’ well-established quest for notoriety “skyrocketed since the mid-1990s in correspondence to the emergence of widespread 24-hour news coverage.” The result is a danse macabre between murderer and media. Which returns us to a very specific kind of killing—the George Floyd kind.

First, a few facts about racism. The General Social Survey (GSS) and other broad indices confirm that organic racism has been in steady decline since the 1970s. Police killings of young black men have dropped 70 percent during the past half-century. Eighteen unarmed black people were shot by police in 2020—not the “thousands” hypothesized by young black respondents in contemporaneous man-in-the-street interviews. (Yes, Floyd’s death was unusually grisly; but that goes to atypicality.)

Opposition to interracial marriage has all but fallen off the charts, from a high of 96 percent in 1958 to just six percent today. Redlining—the practice of steering black home-buyers to poorer neighborhoods—has decreased to the point where, today, the majority of people living in formerly redlined neighborhoods are not black. Even reports of more subjective measures of racism, such as slurs, were on a steady downswing through the early 2000s. In other words, since the media unapologetically abandoned even the pretense of objectivity in order to champion “justice” causes, it has become the primary driver of our feelings on race.

“[A]t a time when measures of racist attitudes and behavior have never been more positive, pessimism about racism and race relations has increased,” writes Eric Kaufmann in his ambitious study for the Manhattan Institute. That study was later distilled into a Newsweek op-ed titled, “The Media Is Creating a False Impression of Rising Racism.” Kaufmann and others argue that the insistent drumbeat of racialized media coverage has black Americans (and white allies) believing that abuse is far more common than it really is.

That drumbeat gets steadily louder. As Zach Goldberg pointed out in an essay for Tablet, the terms racist/racists/racism accounted for just 0.0027 percent and 0.0029 percent of all words in the New York Times and the Washington Post, respectively, in 2011. By 2019, those same terms would constitute 0.02 percent and just under 0.03 percent, respectively, of all words published in the Times and Post—an increase of between 700 percent and 1,000 percent.

Goldberg notes that leading publications have dramatically broadened the definition of racism while also painting a more polarized and hysterical portrait of American race relations. A lengthy feature in the New York Times Magazine explicitly alleged an American “caste system” and compared the US to Nazi Germany. A more recent Times story about a white female dog-walker who called the police on a black male bird-watcher reported that this obscure story was “rattling the nation.” (If you’re the “paper of record” and you publish a story under that rubric, the nation will dutifully rattle.)

By redefining everything as racism and/or sensationalizing anecdotal cases of racist behavior, latter-day journalism helps to realize its own false narratives, say Kaufmann and others, by needlessly inflaming racial tensions. Thus, a nation in which race relations were improving “lives down” to its own news coverage.

The cultural valence of such journalism is hard to miss. Eight in 10 black respondents to a 2020 Qualtrics survey believed that young black men are more likely to be shot to death by police than die in a traffic accident. The actual numbers aren’t even close: 7,494 black people died in traffic accidents in 2020, a 30-fold spread over the 243 black Americans (armed or unarmed) shot by police that year. And in a jaw-dropping poll analyzed by Skeptic, over 20 percent of those self-describing as “liberal” or “very liberal” believed that police killed 10,000 unarmed black people in 2019.

Such misapprehensions are frequently left unchallenged by large sections of the media. When the Floyd story broke and the media began running that grim cellphone video, in whole or in part, over and over again, very little time or attention was spent pointing out the statistical anomaly of such events or the lack of hard evidence supporting a vendetta against black people (see also here). On the contrary, the media insisted, “This is your America.” Viewers were treated to nonstop circular punditry: We know the Floyd case is rooted in racism because America is racist, ergo it should be added to the body of evidence affirming America’s racism. Even the normally temperate Van Jones made this argument.

Photo by Colin Lloyd on Unsplash

Floyd was named in close to two million (1,880,507) news items in the two weeks following his murder. Over half of those reports linked his death to racism. Here again the “Tide effect” obtains: In recurring ads, we don’t just watch the same (fake) couple enjoying their freshly washed laundry over and over again—we infer a much larger message: People love Tide! In the Floyd coverage, we don’t just see cops assaulting the same black man over and over again, we infer the message that cops assault black America!

According to a widely cited literature review conducted at the University of South Florida, “When African Americans view footage of other Black people being killed by police, they are likely to see themselves or a close loved one in that person’s place, in an idea that social scientists refer to as ‘linked fate.’” It is like a death in the family. This effect is most pronounced after “high-profile police killings,” which, as with suicide, raises a question: Is the event itself the problem—or is the “high profile” a function of the multiplier effect supplied by media virality?

Even when journalism isn’t persuading black Americans that they’re destined to die in a police stop, it attacks their sense of emotional wellbeing. Health scholars posited a toll of 55 million additional days of mental distress over the base rate for black Americans in the aftermath of the Floyd blitz. Even before Floyd, a major 2018 Lancet study portrayed the impact of such killings as a disaster for black mental health. A smaller study of pregnant black women found that they see police violence in their kids’ futures: “I’m always expecting that phone call.” The study suggested that such fears could even lead to unfortunate health outcomes for black infants.

And that may not be the worst of it. Keenan Anderson and Tyre Nichols are two black men who died after encounters in which they voiced fears of ending up like Floyd. Anderson plaintively declared, “They’re trying to George Floyd me.” What role could such an ambient mindset have played in predisposing their decision to flee or fight? Though a California University at San Bernardino literature review, titled “Why Do They Resist?”, dates back to 2003, its assessment of the dynamics of combative police stops is germane. The encounters most likely to result in resisting arrest were not those connected to the most serious crimes but rather involved black offenders who felt disrespected by police or suspicious of their motives during lesser matters like traffic stops.

Writer Mike Muse confirms this sentiment in a column for Level. “Resisting is reflex,” he writes. “We know it deeply, because we know the stories of those who came before us: adrenaline threat supersedes rational thinking. Our strength is our only protection from a world of endless fear.” But what if that fear is unsubstantiated? “A media-generated narrative about systemic racism,” writes Kaufmann, “distorts people’s perceptions of reality and may damage African-Americans’ sense of control over their lives.” He notes that merely reading a passage from author Ta-Nehisi Coates has been found to erode black respondents’ sense of agency.

Killing us loudly with its song

The news is making us all miserable. This truism emerges in study after study. A survey of 4,675 Americans in the weeks following the Boston Marathon bombings revealed that people who engaged with more than six hours of media coverage per day were nine times more likely to experience symptoms of acute stress. Another study found that people who watched negative material showed an increase in both anxious and sad moods after only 14 minutes of watching TV news. Even when the information is important, the deleterious effect remains. The more frequently people sought information about COVID-19 across various media, the more likely they were to report emotional distress.

“It can be damaging to constantly be reading the news because constant exposure to negative information can impact our brain,” offers licensed social worker Annie Miller. She explains that difficult media material activates our fight-or-flight response, flooding the body with hormones like adrenaline and cortisol. Such bio-responses can be as addictive as they are unhealthy. The perverse and self-perpetuating psychological tic known as “doomscrolling” refers to the act of obsessively reading bad news despite the onset of anxiety and depression.

Perhaps most tragically, journalism appears to be poisoning the minds of America’s youth, who already struggle enough with the effects of social media and influencer culture. “They may have just read about an animal on the verge of extinction or the latest update on the melting polar ice caps,” says family-practice psychologist Don Grant. Or the effect may be second-hand, as a result of hearing their parents bemoan the latest horror stories.

Journalism is a factor in the ultimate act of cynicism—the decision not to procreate. In a recent poll, nine percent of respondents cited “the state of the world” as the key reason for their disinclination to have children. Young couples have been conditioned to expect their kids to do less well financially, and to have a lower overall quality of life. They fear for the very future of the planet. Headlines like this one probably don’t help: “It’s a Terrifying Time to Have Kids in America.”

We can debate whether the declining birth rate is itself a good thing or a bad thing, but it matters that opting out of family life is at least partly a function of fiction. It matters that at least some of us are contemplating species suicide in response to today’s bottomless media cornucopia of murder, disease, disaster, depravity, disunity, and every possible “ism” or “phobia.” Psychologically, journalism has us buckling ourselves into that one plane that goes down, day after day after damn day.

 

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Bayo Onanuga battles yet another media – Punch Newspapers

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Bayo Onanuga battles yet another media  Punch Newspapers



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Blood In The Snow Film Festival Celebrates 13 Years!

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Blood in the Snow FILM FESTIVAL

Celebrates

13 YEARS

Be Afraid.  Be Very Afraid”

Toronto, on – Blood in the Snow Film Festival (BITS), a unique and imaginative showcase of contemporary Canadian genre films are pleased to announce the popular Festival is back for its 13th exciting year.  The highly anticipated Horror Film festival presented by Super Channel runs November 18th– 23rd at Toronto’s Isabel Bader Theatre  The successful, long running festival takes on many different faces this year that include Scary, Action Horror, Horror Comedy, Sci-Fi and Thrillers.  Festival goers will be kept on the edge of their seats with this year’s powerful line-up.

Blood in the Snow Festival begins with the return of alumni (Wolf Cop) Lowell Deans action horror feature Dark Match featuring wrestling veteran Chris Jericho followed by the mysterious Hunting Mathew Nichols. The unexpected thrills continue with Blood in the Snow World Premiere of Pins and Needles and the Fantasia Best First Feature Award winner, Self Driver.  The festival ends this year on a fun note with the Toronto Premiere of Scared Sh*tless (featuring Kids in the Halls Mark McKinney).  Other titles include the horror anthology series Creepy Bits and Zoom call shock of Invited by Blood in the Snow alumni Navin Ramaswaran (Poor Agnes). The festival will also include five feature length short film programs including the festivals comedy horror program Funny Frights and Unusual Sights and the highly anticipated Dark Visions program, part of opening night festivities.  Blood in the Snow Film Festival Director and Founder, Kelly Michael Stewart anticipates this year’s festival to be its strongest.  This was the first time in our 13 year history, all our programmers agreed on the exact same eight feature programs we have selected.”

Below is this year’s horror fest’s exciting lineup of features and shorts scheduled to screen, in-person at the Isabel Bader theatre. 

**All festival features will be preceded by a short film and followed by a Q&A with filmmakers.

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased  https://www.bloodinthesnow.ca

Super Channel is pleased to once again assume the role of Presenting Sponsor for the Blood in the Snow Film Festival. We extend our sincere appreciation to the entire BITS team for their unwavering commitment to amplifying the voices of diverse filmmakers and providing a platform for the celebration of Canadian genre content. – Don McDonald, the CEO of Super Channel

Blood in the Snow Festival 2024 Full screening schedule:

Monday November 18th
7pm – Dark Visions

Shiva (13:29) dir. Josh Saltzman

Shiva is an unnerving tale about a recently widowed woman who breaks with a long-held Jewish mourning ritual in hopes of connecting with her deceased husband.

How to Stay Awake (5:30) dir. Vanessa Magic

A woman fights to stay awake, to avoid battling the terrifying realm of sleep paralysis, but as she risks everything to break free, will she be released from the grip of her nocturnal tormentor?

Pocket Princess (9:45) dir. Olivia Loccisano

A young girl must take part in a dangerous task in order to complete her doll collection in this miniature fairytale.

For Rent (10:33) dir. Michèle Kaye

In her new home, Donna unravels a sinister truth—her landlord is a demon with a dark appetite. As her family mysteriously vanishes, Donna confronts the demonic landlord, only to plunge into a shadowy game where the house hungers for more than just occupants. An ominous cycle begins, shrouded in mystery.

Lucys Birthday (9:29) dir. Peter Sreckovic

A father struggles to enjoy his young daughter’s birthday despite a series of strange and disturbing disruptions.

Parasitic (10:00) dir. Ryan M Andrews

Last call at a dive bar, a writer struggling to find his voice gets more than he bargains for.

 Naualli (6:00) dir. Adrian Gonzalez de la Pena

A grieving man seeks revenge, unwittingly awakening a mystical creature known as the Nagual.

The Saint and The Bear (6:34) dir. Dallas R Soonias

Two strangers cross paths on an ominous park bench.

The Sorrow (13:00) dir. Thomas Affolter

A retired army general and his live-in nurse find they are not alone in a house filled with dark secrets.

Cadabra (6:00) dir. Tiffany Wice

An amateur magician receives more than he anticipated when he purchases a cursed hat from the estate of his deceased hero.

9:30 – Dark Match dir. Lowell Dean Horror / Action

A small time WRESTLING COMPANY accepts a well-paying but too good to be true gig.

 

Tuesday November 19th
7pm – Mournful Mediums

Night Lab (15:00) dir. Andrew Ellinas

When a mysterious package arrives from one of the lab’s field research stations, a promising young researcher uncovers a conspiracy against her masterminded by her jealous boss. She soon finds herself having to grapple with her conscience before making a life-or-death decision.

Dirty Bad Wrong (14:40) dir. Erica Orofino

Desperate to keep her promise to host the best superhero party for her 6-year-old, young mother Sid, a sex worker, takes extreme measures and books a last-minute client with a dark fetish.

Midnight at the lonely river (17:00) dir. Abraham Cote

When the lights go out at a seedy little motel bar, at the crossroads of a seedy little town, nefarious happenings are taking place, and three predators are enacting their evil deeds. Enter Vicky, a drifter who quickly realizes whats happening right under everyones nose. After midnight, In the shadows of this dim establishment, evil begets evil, and the predator becomes the prey.

Mean Ends (14:58) dir. Émile Lavoie

A buried body, a missing sister and an inquisitive neighbour makes for a hell of an evening. And the sun isnt close to settling on Erics sh*tty day.

Stuffy (18:26) dir. Dan Nicholls

A young couple sets off in the middle of the night to bury their kid’s stuffed bunny, as one of them is convinced that the stuffy might be cursed.

Dungeon of Death (18:33) dir. Brian P. Rowe

Torturer Raullin loves a work challenge, especially if that challenge involves hurting people to extract information from them.

9:30 – Hunting Matthew Nichols (96 mins) dir. Markian Tarasiuk

Twenty-three years after her brother mysteriously disappeared, a documentary filmmaker sets out to solve his missing person’s case. But when a disturbing piece of evidence is revealed, she comes to believe that her brother might still be alive.

w/ short: Josephine (6:15) dir. John Francis Bregar

A man haunted by his past seeks forgiveness from his deceased wife, but a session with two spirit mediums leads to an unsettling encounter.

Wednesday November 20th
7pm – BITS and BYTES

Ezra (10:57) dirs. Luke Hutchie, Mike Mildon, Marianna Phung

After fleeing the dark and demonic chains of his shadowy old home, Ezra, a killer gay vampire, takes a leap of faith and enters the modern world.

Head Shop (18:14 episode 1-3) dir. Namaï Kham Po

In a post-apocalyptic world, Annas life and work are dominated by her father Sylvestre, a short-tempered mechanic with a terrible reputation for tearing the head off anyone who dares cross him. He decides that shes old enough to follow in his footsteps, much to her dismay. To prove herself, she must now decapitate her first victim. Can she find a way to defy fate?

D dot H (18 :15 episodes 1-2) dirs. Meegwun Fairbrother, Mary Galloway

Struggling artist Doug is visited by the beautiful and enigmatic H, who claims he holds the power to visiting inconceivable places.” Still half-asleep, Doug is shocked when H vanishes suddenly and her doppelganger, Hannah, strides past.

Creepy Bits: Last Sonata (21:08) dir.

Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

Set among forests, lakes, and small towns, Creepy Bits is a horror anthology series helmed by five innovative filmmakers exploring themes of human vs. nature, the invasion and destruction of the natural world by outsiders, and isolation within a vast, eerie landscape that is not afraid to fight back.

Tales from the Void: Whistle in the Woods” (24:36) dir. Francesco Loschiavo

Horror anthology TV series based on stories from r/NoSleep. Each tale blends genre thrills & social commentary exploring the dark side of the human psyche.

9:30 – Self Driver dir. Michael Pierro Thriller

Facing mounting expenses and the unrelenting pressure of modern living, a down-on-his-luck cab driver is lured on to a mysterious new app that promises fast, easy money. As his first night on the job unfolds, he is pulled ever deeper into the dark underbelly of society, embarking on a journey that will test his moral code and shake his understanding of what it means to have freewill. The question becomes not how much money he can make, but what he’ll be compelled to do to make it.
 

w/ short: Northern Escape (10:38) dirs. Lucy Sanci, Alexis Korotash

A couple on a cottage getaway tries to work on their relationship but ends up getting more than they bargained for when they discover something sinister lurking beneath the surface.

Thursday November 21st
7pm – Funny Frights

Midnight Snack (1:41) dir. Sandra Foisy

Hunger always strikes in the dead of night.

Hell is a Teenage Girl (15:00) dir. Stephen Sawchuk

Every Halloween, the small town of Springboro is terrorized by its resident SLASHER – a masked serial killer who targets sinful teenagers that break The Rules of Horror’ – dont drink, dont do drugs, and dont have sex!

Gaslit (10:36) dir. Anna MacLean

A woman goes to dangerous lengths to prove she wasn’t responsible for a fart.

Bath Bomb (9:55) dir. Colin G Cooper

A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but after an accusation of infidelity, things take a deeply disturbing turn.

Any Last Words (14:22) dir. Isaac Rathé

A crook trying to flee town is paid an untimely visit by some of his former colleagues. What would you say to save your life if you were staring down the barrel of a gun?

Papier mâché (4:30) dir. Simon Madore

A whimsical depiction of the hard and tumultuous life of a piñata.

The Living Room (9:59) dir. Joslyn Rogers

After an unexpected call from Lady Luck, Ms. Valentine must choose between her sanity and her winnings – all before the jungle consumes her.

A Divine Comedy: What the Hell (8:55) dir. Valerie Lee Barnhart
 Dante’s classic Hell is falling into oblivion. Charlotte,

sharp-witted Harpy, navigates the chaos and sets out despite the odds for a new life and destiny.

Mr Fuzz (2:30) dir. Christopher Walsh

A long-limbed, fuzzy-haired creature will do whatever it takes to keep you watching his show.

Out of the Hands of the Wicked (5:00) dirs. Luke Sargent, Benjamin Hackman

After a harrowing journey home from hell, old Pa boasts of his triumph over evil, and how he came to lock the devil in his heart.

The Shitty Ride (9:13) dir. Cole Doran

Hoping to impress the girl of his dreams, Cole buys a used car but gets more than he bargained for with his shitty ride.

9:30 – Invited dir. Navin Ramaswaran Horror

When a reluctant mother attends her daughter’s Zoom elopement, she and the rest of the family in attendance quickly realize the groom is part of a Russian cult with deadly intentions.

w/ shorts: Defile dir. Brian Sepanzyk

A couple’s secluded getaway is suddenly interrupted by a strange family who exposes them to the horrors that lie beyond the tree line.

 A Mother’s Love dir. Lisa Ovies

A young girl deals with the consequences of trusting someone online.

Friday November 22nd
7:00 pm – Creepy Bits (anthology horror series)

Creepy Bits is a short horror anthology series that explores pandemic age themes of isolation, paranoia and distrust of authority, serving them up in bite-sized chunks. Directed by Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

9:30 – Pins and Needles (81 min) dir. James Villeneuve Horror / Thriller

Follows Max, a diabetic, biology grad student who is entrapped in a devilish new-age wellness experiment and must escape a lethal game of cat and mouse to avoid becoming the next test subject to extend the lives of the rich and privileged.

w/ short: Adjoining (11:42) dirs. Harrison Houde, Dakota Daulby

A couple’s motel stay takes a chilling turn when they discover they’re being observed, leading to unexpected consequences.

Saturday November 23rd
4pm – Emerging Screams (94 mins)

Apnea (14:58) dir. David Matheson

A single, working mother finds her career and her offbeat sons safety in jeopardy when she discovers that her late mother is possessing her in her sleep.

Nereid (7:48) dir. Lori Zozzolotto

A mysterious woman escapes from an abusive relationship with earth shattering results.

BedLamer (15:00) dir. Alexa Jane Jerrett

On the shores of a small fishing village lives a lonely settlement of men – capturing and domesticating otherworldly creatures that were never meant to be tamed.

Blocked (6:30) dir. Aisha Alfa

A new mom is literally consumed with the futility of cleaning up after her kid.

Dance of the Faery (10:23) dir. Kaela Brianna Egert

A young woman cleans up her estranged, great aunt’s home after her death. Upon inspection, she soon realizes that her eccentric obsession with fairies was not born out of love, but of fear.

Deep End (7:36) dir. Juan Pablo Saenz

A gay couple’s heated argument during a hike spiral into a nightmare when one of them vanishes, leading the other to a mysterious cave that could reveal the chilling truth.

Ojichaag – Spirit Within (11:21) dir. Rachel Beaulieu

An emotionally devastated woman seeks comfort in her choice to end her life. As she faces death in the form of a spirit, she must decide to let herself go to fight to stay alive.

Lure (9.56) dir. Jacob Phair

A tormented father awaits the return of the man who saved his son’s life.

Let Me In (10:00) dirs. Joel Buxton, Charles Smith

A reluctant man interviews an unusual immigration candidate: himself from a doomed dimension

7:00 pm –The Silent Planet (95 mins) dir. Jeffrey St. Jules Sci-fi

An aging convict serving out a life sentence alone on a distant planet is forced to confront his past when a new prisoner shows up and pushes him to remember his life on earth

w/ short: Ascension (3:57) dir. Kenzie Yango

Deep in a remote forest, two friends, Mia and Riley, embark on a leisurely hike. As tensions run high between the two, a strange humming noise appears that seems to be coming from somewhere in the woods.

9:30 – Scared Shitless (73 mins) dir. Vivieno Caldinelli Horror / Comedy

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.
 

w/ short: Oh…Canada (6:20) dir. Vincenzo Nappi

Oh, Canada. Such a wonderful place to live – WHETHER YOU LIKE IT OR NOT. A musical look into the artifice surrounding Canadian identity.

 

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased https://www.bloodinthesnow.ca/#festival

 

Follow “Blood In The Snow” Film Festival:

https://www.instagram.com/bitsfilmfest/

 

Media Inquiries:

Sasha Stoltz Publicity:

Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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It’s time for a Halloween movie marathon. 10 iconic horror films

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Sometimes, you just have to return to the classics.

That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.

We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?

“Rear Window” (1954)

“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.

James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.

— Bob Thomas

“Halloween” (1978)

At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”

Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.

The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.

— Bob Thomas

“The Silence of the Lambs” (1991)

“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”

Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.

Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.

— Bob Thomas

“Scream” (1996)

In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.

If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.

By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.

— Ned Kilkelly

“The Blair Witch Project” (1999)

Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”

“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.

The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.

But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.

— Christy Lemire

“Saw” (2004)

The fright flick “Saw” is consistent, if nothing else.

This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.

You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.

But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.

— David Germain

Germain gave “Saw” one star out of four.

“Paranormal Activity” (2009)

The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.

The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.

The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.

— Glenn Whipp

Whipp gave “Paranormal Activity” three stars out of four.

“The Conjuring” (2013)

As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.

“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.

But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.

— Jake Coyle

Coyle gave “The Conjuring” two and half stars out of four.

Read the full review here.

“Get Out” (2017)

Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”

In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”

It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.

— Jake Coyle

Coyle gave “Get Out” three stars out of four.

Read the full review here.

“Hereditary” (2018)

In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”

A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.

Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.

The hype is mostly justified.

— Jake Coyle

Coyle gave “Hereditary” three stars out of four.

Read the full review here. ___

Researcher Rhonda Shafner contributed from New York.

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