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Social media policies are failing journalists

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Social media platforms present a conundrum for journalists.

On the one hand, journalists rely on social media for so many helpful aspects of their jobs. To name just a few: to connect with potential sources, to interact with audiences, to promote their work, and to find solidarity among fellow journalists.

On the other hand, platforms such as Twitter and Facebook present a dizzying array of problems, from the growing variety and intensity of online harassment — hostility, trolling, doxing, etc. — that especially targets women and journalists of color, to the constant threat that one wrong tweet might incite a mob or cost a journalist their job.

It’s important to ask: What are newsroom leaders doing to support and protect their journalists facing the increasing risks and challenges of social media?

new study in Digital Journalism examines this question. Its author, Jacob L. Nelson, conducted in-depth interviews with 37 U.S.-based reporters, editors, publishers, freelancers, and social media/audience engagement managers, covering current and former employees at a wide array of outlets (local and national, for-profit and nonprofit, legacy media and digital media). Interviews focused on journalists’ experiences with and thoughts about their newsroom’s social media policies. Women and journalists of color made up a large share of interviewees because such journalists are more likely to encounter online harassment.

So, what did the journalists interviewed say about the value of social media policies and their organizations’ support mechanisms? The research article’s title provides a hint: “Worse than the harassment itself.”

“I find that although journalists face both external and internal pressure to devote considerable time and effort to social media platforms — primarily Twitter — they encounter little in the way of guidance or support when it comes to navigating the dangers inherent within those platforms,” Nelson writes. “On the contrary, journalists feel newsroom social media policies tend to make matters worse, by offering difficult to follow guidelines focused primarily on maintaining an ‘objective’ perception of the organization among the public rather than on protecting journalists from the harassment that many will inevitably receive.”

Journalists interviewed for this study seemed to be “one step ahead of their newsroom managers,” argued Nelson (who, full disclosure, does collaborative research with Seth, though not on this project). The journalists realized, in a way their bosses didn’t, that “the very behavior that social media most encourages and rewards — being active and personal — is the same kind of behavior that brings journalists their biggest frustrations.”

That is, journalists understood that being authentic and acting like a “real” person on social media was more likely to bring more professional opportunities and improved interactions with the public. Sounds good, right? But, at the same time, such an approach to social media, journalists realized, also made them more vulnerable to recurring personal attacks from harassers, and it increased the odds that they would inadvertently say something that would get them accused of bias and thus punished by their managers for failing to abide by strict policies on neutrality.

The overall result is that journalists feel they are walking what Nelson has elsewhere called a “Twitter tightrope”: “They spend a great deal of time engaging with the public on social media platforms, while constantly wondering if and when that engagement will come at their professional peril.” So, what do journalists want? For their managers to do more to help them mitigate the challenges and risks endemic to this work. (Indeed, as other research has found recently, news organizations are doing little to protect their journalists from online harassment.)

The “fluidity” of the social media audience — its unpredictability, particularly when some posts “go viral” and spread widely while others get little attention — was a key part of journalists’ frustrations with their managers.

“Traditional journalistic values privilege audience perceptions of professionalism, independence, and neutrality,” Nelson writes, “each of which is easier to predict when focused on a fixed audience for a specific news outlet than for the much larger, more amorphous audiences found on social media platforms.”

On top of that, some of the study’s interviewees questioned whether audiences were really so firmly committed to old-school ideas about total objectivity and neutrality, “which many journalists see not only as impossible aspirations on their own, but also as wholly inconsistent with the performed authenticity privileged by social media.” Future research could help untangle this puzzle. Because while research suggests that people generally want journalists to present the news without a point of view, it’s still unclear whether rules and expectations apply the same to social media postings as they might, say, for news articles on legacy platforms.

As Nelson writes, “Perhaps news audiences hold seemingly contradictory preferences, where they value both accurate, opinion-free news stories, as well as the political opinions of the journalists behind them. If this is indeed the case, then it might be in newsroom managers’ best interests to give the public a bit more credit when deciding what those audiences want not only from journalism, but from journalists as well.”

Research roundup

How involved should news organizations be in news literacy efforts? And what are the benefits and drawbacks of their involvement? Those have been crucial questions as educators, news industry leaders, nonprofits and governments have implemented news literacy programs over the past decade. Through these programs, journalists can provide distinct insight into the news production process and humanize their work for people. But journalists’ involvement also risks these programs becoming little more than PR disguised as education.

Yeoman and Morris bring an education lens to this question by looking at five news literacy initiatives for children in the U.K. that incorporate news organizations in some form. They observed lessons and interviewed program leaders and the teachers in whose classrooms they ran. They found that there was some element of “pedagogical public relations” throughout the programs, as their leaders expressed desires to revitalize news by capturing young audiences and frequently contrasted the work of trained professional journalists with other forms of news in their sessions.

The program leaders were wary of the perception of this self-interested motive and were careful not to promote their own news organizations specifically. But they still promoted a largely uncritical view of the work of professional journalists. Yeoman and Morris instead advocated a news literacy approach of “informed skepticism” as part of a national curriculum. Journalists should have a role in such programs, they argued, but we need to be cognizant of news organizations’ self-promotional motivations lest we turn news literacy programs into little more than advertisements for traditional news media.

Zhu and Fu’s study is organized around a fascinating conundrum: If we’re in a high-choice media environment in which a more trusted (or at least more entertaining) news source is a tap away, how is authoritarian propaganda still effective? Zhu and Fu note in particular the online success of People’s Daily and CCTV News, China’s premier Communist Party news sources, which each have more than 100 million followers on Sina Weibo (China’s dominant social media platform), garnering unprecedented popularity in an environment where we might think consumer choice might leave them behind.

The authors were especially interested in whether soft news plays a role in maintaining propaganda’s popularity. Does soft news offer an escape to avoid propaganda, or help capture an entertainment-seeking audience to increase the reach and palatability of propaganda? They tested their hypothesis with 5.7 million Sina Weibo posts over seven years from 103 Chinese newspapers.

The answer, in short, was that yes, soft news does serve as an effective gateway to authoritarian propaganda. More than half (58%) of the news that party daily newspapers published on Sina Weibo was soft news — less than than their non-party counterparts, but enough to have a measurable effect on the popularity of propaganda news (in this study, news about Chinese premier Xi Jinping). An increase in the popularity of soft news one month led to a significant increase in the popularity of propaganda in the next. (And notably, that effect didn’t occur in the reverse.)

There were limits to this strategy — softening the propaganda stories themselves with things like videos actually undermined their effectiveness. But on the whole, the authors conclude, “These batches of human-interest content are devoid of propaganda in text yet are instrumental to propaganda in effect,” as party media uses infotainment to lure in an otherwise politically uninterested audience.

The notion that the boundaries are blurring between news and marketing within news organizations — and even within journalists’ own jobs — is hardly news to anyone at this point. Yet few feel the tension between these two realms quite as acutely as social media editors. It’s not clear there’s much difference on social media between publishing news and promoting it, and social media editors are staking out a home in the newsroom on that fault line.

Neilson and his co-authors explored that defining tension of the work of social media editors by looking at 291 American journalism job postings for social media editors (as well as engagement editors, community managers, audience strategists, and other similar titles). They also interviewed 11 social media editors working at American news organizations.

Among the job postings, they found an interesting dichotomy. Job postings rarely explicitly mentioned marketing as a desire skill or part of the job — rather, journalism experience was the top form of experience sought, almost nine times more than marketing experience. But social media editors’ primary tasks, such as analyzing audience data and helping with audience growth, “could only be classified as marketing.” Those jobs, the authors concluded, were being publicly framed as news jobs, but were in fact more commercially oriented jobs in practice.

In the interviews, though, the authors noted that editors didn’t find many of these day-to-day audience (and metrics) monitoring tasks rewarding. Instead, they were working to redefine their own roles as being oriented around newsroom strategy and decision-making, using their data analysis skills as an attempted avenue into more active newsroom leadership. The boundaries between editorial and marketing work for social media editors, the authors conclude, have not so much been blurred as simply redrawn to include marketing functions as central — and as a potential path to a more managerial role.

It’s become a truism that news, especially in the U.S., has become increasingly national as local journalism has been hollowed out and political dynamics have pushed most debates to the national level. The national media’s preeminence over local media in determining what issues get covered has been demonstrated for decades. But Guo and Zhang’s study tests that notion on local media’s turf, with coverage of urban issues.

Using an automated analysis of thousands of news articles from 21 of the largest cities in the U.S., Guo and Zhang measured coverage over time of 16 locally based issues ranging from taxes to the environment to religion and morality. They found that in only three cities the local media predominantly led the national media in covering these urban issues — Chicago, Seattle, and Washington, D.C. (In about half the cities, there was no significant relationship between local and national coverage.) Across all cities, local media tended to lead on taxes, politics, and media and the internet, and national media led on gun control and crime.

Larger cities were not more likely than smaller ones to lead the national media in coverage of urban issues. Instead, cities’ GDP and number of local news organizations were the strongest factors in predicting whether a city’s local media would lead national media. “Affluent cities with more journalistic resources are more likely to control the information flows,” the authors concluded. This leads to more power for those cities to control their images while leaving less affluent cities even more marginalized.

The push to reinvigorate local news, they said, should center more on those less affluent (and therefore less powerful) cities, though of course their relative lack of wealth makes it more difficult for them to support new or expanded local news initiatives.

The power of Russian media has been widely observed, particularly since Russia’s invasion of Ukraine began last year. But two notable recent studies have given us insight into Russia’s media influence through some less-understood avenues. The first of those studies, by Ksenia Ermoshina, examines the process by which Russia asserted its dominance in the media sphere after it began occupying the Ukrainian peninsula of Crimea in 2014.

Along with a year of fieldwork in Crimea, Ermoshina interviewed 45 Crimean journalists, NGO workers, information security experts, and others. She found that while they all engaged in individual strategies to adapt to Russian rule, those strategies are best understood against the background of infrastructural changes — the ownership of cables and cell towers, and the quality of internet connections. She coins the term “informational annexation” to refer to the process of controlling access and circulation of information that occurred.

While policing content was certainly involved in Russia’s information control strategy, Ermoshina draws attention to the structural elements involved, like choking off internet traffic to turn Crimea into an “informational island” and by making it much more burdensome to travel to and from Crimea, cutting off institutional support and increasing journalists’ perception of the risk involved with reporting.

In the second study, Charlotte Wagnsson and her colleagues sought to determine who watches the Russian state-sponsored propaganda outlets RT and Sputnik outside of Russia and why. They interviewed 43 Swedish consumers of RT or Sputnik and found that while there were many who fit what might be the stereotypical Russian propaganda consumer — right-wing, with strong anti-establishment media beliefs — there were even more who didn’t fit that profile.

Some were more centrist pragmatists, and others were progressive and directly disagreed with views put forward by RT and Sputnik. So why were they consuming that media? The authors broke down a typology of four types of motivations, three of which involved some distance from RT and Sputnik’s positions.

Some (“media nihilists”) distrusted establishment and alternative media but were confident in their ability to consume them skeptically. Others (“reluctant consumers” and “distant observers”) consume media counter to their own ideas more out of curiosity or a pride in keeping tabs on opposing ideas. But all types, the authors concluded, contribute to those organizations’ goal of establishing international influence, since RT and Sputnik “do not need to be seen as legitimate; only as legitimate enough.”

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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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