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We Know Less About Social Media Than We Think – The New Yorker

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How Harmful Is Social Media?

Illustration by Ari Liloan

In April, the social psychologist Jonathan Haidt published an essay in The Atlantic in which he sought to explain, as the piece’s title had it, “Why the Past 10 Years of American Life Have Been Uniquely Stupid.” Anyone familiar with Haidt’s work in the past half decade could have anticipated his answer: social media. Although Haidt concedes that political polarization and factional enmity long predate the rise of the platforms, and that there are plenty of other factors involved, he believes that the tools of virality—Facebook’s Like and Share buttons, Twitter’s Retweet function—have algorithmically and irrevocably corroded public life. He has determined that a great historical discontinuity can be dated with some precision to the period between 2010 and 2014, when these features became widely available on phones.

“What changed in the 2010s?” Haidt asks, reminding his audience that a former Twitter developer had once compared the Retweet button to the provision of a four-year-old with a loaded weapon. “A mean tweet doesn’t kill anyone; it is an attempt to shame or punish someone publicly while broadcasting one’s own virtue, brilliance, or tribal loyalties. It’s more a dart than a bullet, causing pain but no fatalities. Even so, from 2009 to 2012, Facebook and Twitter passed out roughly a billion dart guns globally. We’ve been shooting one another ever since.” While the right has thrived on conspiracy-mongering and misinformation, the left has turned punitive: “When everyone was issued a dart gun in the early 2010s, many left-leaning institutions began shooting themselves in the brain. And, unfortunately, those were the brains that inform, instruct, and entertain most of the country.” Haidt’s prevailing metaphor of thoroughgoing fragmentation is the story of the Tower of Babel: the rise of social media has “unwittingly dissolved the mortar of trust, belief in institutions, and shared stories that had held a large and diverse secular democracy together.”

These are, needless to say, common concerns. Chief among Haidt’s worries is that use of social media has left us particularly vulnerable to confirmation bias, or the propensity to fix upon evidence that shores up our prior beliefs. Haidt acknowledges that the extant literature on social media’s effects is large and complex, and that there is something in it for everyone. On January 6, 2021, he was on the phone with Chris Bail, a sociologist at Duke and the author of the recent book “Breaking the Social Media Prism,” when Bail urged him to turn on the television. Two weeks later, Haidt wrote to Bail, expressing his frustration at the way Facebook officials consistently cited the same handful of studies in their defense. He suggested that the two of them collaborate on a comprehensive literature review that they could share, as a Google Doc, with other researchers. (Haidt had experimented with such a model before.) Bail was cautious. He told me, “What I said to him was, ‘Well, you know, I’m not sure the research is going to bear out your version of the story,’ and he said, ‘Why don’t we see?’ ”

Bail emphasized that he is not a “platform-basher.” He added, “In my book, my main take is, Yes, the platforms play a role, but we are greatly exaggerating what it’s possible for them to do—how much they could change things no matter who’s at the helm at these companies—and we’re profoundly underestimating the human element, the motivation of users.” He found Haidt’s idea of a Google Doc appealing, in the way that it would produce a kind of living document that existed “somewhere between scholarship and public writing.” Haidt was eager for a forum to test his ideas. “I decided that if I was going to be writing about this—what changed in the universe, around 2014, when things got weird on campus and elsewhere—once again, I’d better be confident I’m right,” he said. “I can’t just go off my feelings and my readings of the biased literature. We all suffer from confirmation bias, and the only cure is other people who don’t share your own.”

Haidt and Bail, along with a research assistant, populated the document over the course of several weeks last year, and in November they invited about two dozen scholars to contribute. Haidt told me, of the difficulties of social-scientific methodology, “When you first approach a question, you don’t even know what it is. ‘Is social media destroying democracy, yes or no?’ That’s not a good question. You can’t answer that question. So what can you ask and answer?” As the document took on a life of its own, tractable rubrics emerged—Does social media make people angrier or more affectively polarized? Does it create political echo chambers? Does it increase the probability of violence? Does it enable foreign governments to increase political dysfunction in the United States and other democracies? Haidt continued, “It’s only after you break it up into lots of answerable questions that you see where the complexity lies.”

Haidt came away with the sense, on balance, that social media was in fact pretty bad. He was disappointed, but not surprised, that Facebook’s response to his article relied on the same three studies they’ve been reciting for years. “This is something you see with breakfast cereals,” he said, noting that a cereal company “might say, ‘Did you know we have twenty-five per cent more riboflavin than the leading brand?’ They’ll point to features where the evidence is in their favor, which distracts you from the over-all fact that your cereal tastes worse and is less healthy.”

After Haidt’s piece was published, the Google Doc—“Social Media and Political Dysfunction: A Collaborative Review”—was made available to the public. Comments piled up, and a new section was added, at the end, to include a miscellany of Twitter threads and Substack essays that appeared in response to Haidt’s interpretation of the evidence. Some colleagues and kibbitzers agreed with Haidt. But others, though they might have shared his basic intuition that something in our experience of social media was amiss, drew upon the same data set to reach less definitive conclusions, or even mildly contradictory ones. Even after the initial flurry of responses to Haidt’s article disappeared into social-media memory, the document, insofar as it captured the state of the social-media debate, remained a lively artifact.

Near the end of the collaborative project’s introduction, the authors warn, “We caution readers not to simply add up the number of studies on each side and declare one side the winner.” The document runs to more than a hundred and fifty pages, and for each question there are affirmative and dissenting studies, as well as some that indicate mixed results. According to one paper, “Political expressions on social media and the online forum were found to (a) reinforce the expressers’ partisan thought process and (b) harden their pre-existing political preferences,” but, according to another, which used data collected during the 2016 election, “Over the course of the campaign, we found media use and attitudes remained relatively stable. Our results also showed that Facebook news use was related to modest over-time spiral of depolarization. Furthermore, we found that people who use Facebook for news were more likely to view both pro- and counter-attitudinal news in each wave. Our results indicated that counter-attitudinal exposure increased over time, which resulted in depolarization.” If results like these seem incompatible, a perplexed reader is given recourse to a study that says, “Our findings indicate that political polarization on social media cannot be conceptualized as a unified phenomenon, as there are significant cross-platform differences.”

Interested in echo chambers? “Our results show that the aggregation of users in homophilic clusters dominate online interactions on Facebook and Twitter,” which seems convincing—except that, as another team has it, “We do not find evidence supporting a strong characterization of ‘echo chambers’ in which the majority of people’s sources of news are mutually exclusive and from opposite poles.” By the end of the file, the vaguely patronizing top-line recommendation against simple summation begins to make more sense. A document that originated as a bulwark against confirmation bias could, as it turned out, just as easily function as a kind of generative device to support anybody’s pet conviction. The only sane response, it seemed, was simply to throw one’s hands in the air.

When I spoke to some of the researchers whose work had been included, I found a combination of broad, visceral unease with the current situation—with the banefulness of harassment and trolling; with the opacity of the platforms; with, well, the widespread presentiment that of course social media is in many ways bad—and a contrastive sense that it might not be catastrophically bad in some of the specific ways that many of us have come to take for granted as true. This was not mere contrarianism, and there was no trace of gleeful mythbusting; the issue was important enough to get right. When I told Bail that the upshot seemed to me to be that exactly nothing was unambiguously clear, he suggested that there was at least some firm ground. He sounded a bit less apocalyptic than Haidt.

“A lot of the stories out there are just wrong,” he told me. “The political echo chamber has been massively overstated. Maybe it’s three to five per cent of people who are properly in an echo chamber.” Echo chambers, as hotboxes of confirmation bias, are counterproductive for democracy. But research indicates that most of us are actually exposed to a wider range of views on social media than we are in real life, where our social networks—in the original use of the term—are rarely heterogeneous. (Haidt told me that this was an issue on which the Google Doc changed his mind; he became convinced that echo chambers probably aren’t as widespread a problem as he’d once imagined.) And too much of a focus on our intuitions about social media’s echo-chamber effect could obscure the relevant counterfactual: a conservative might abandon Twitter only to watch more Fox News. “Stepping outside your echo chamber is supposed to make you moderate, but maybe it makes you more extreme,” Bail said. The research is inchoate and ongoing, and it’s difficult to say anything on the topic with absolute certainty. But this was, in part, Bail’s point: we ought to be less sure about the particular impacts of social media.

Bail went on, “The second story is foreign misinformation.” It’s not that misinformation doesn’t exist, or that it hasn’t had indirect effects, especially when it creates perverse incentives for the mainstream media to cover stories circulating online. Haidt also draws convincingly upon the work of Renée DiResta, the research manager at the Stanford Internet Observatory, to sketch out a potential future in which the work of shitposting has been outsourced to artificial intelligence, further polluting the informational environment. But, at least so far, very few Americans seem to suffer from consistent exposure to fake news—“probably less than two per cent of Twitter users, maybe fewer now, and for those who were it didn’t change their opinions,” Bail said. This was probably because the people likeliest to consume such spectacles were the sort of people primed to believe them in the first place. “In fact,” he said, “echo chambers might have done something to quarantine that misinformation.”

The final story that Bail wanted to discuss was the “proverbial rabbit hole, the path to algorithmic radicalization,” by which YouTube might serve a viewer increasingly extreme videos. There is some anecdotal evidence to suggest that this does happen, at least on occasion, and such anecdotes are alarming to hear. But a new working paper led by Brendan Nyhan, a political scientist at Dartmouth, found that almost all extremist content is either consumed by subscribers to the relevant channels—a sign of actual demand rather than manipulation or preference falsification—or encountered via links from external sites. It’s easy to see why we might prefer if this were not the case: algorithmic radicalization is presumably a simpler problem to solve than the fact that there are people who deliberately seek out vile content. “These are the three stories—echo chambers, foreign influence campaigns, and radicalizing recommendation algorithms—but, when you look at the literature, they’ve all been overstated.” He thought that these findings were crucial for us to assimilate, if only to help us understand that our problems may lie beyond technocratic tinkering. He explained, “Part of my interest in getting this research out there is to demonstrate that everybody is waiting for an Elon Musk to ride in and save us with an algorithm”—or, presumably, the reverse—“and it’s just not going to happen.”

When I spoke with Nyhan, he told me much the same thing: “The most credible research is way out of line with the takes.” He noted, of extremist content and misinformation, that reliable research that “measures exposure to these things finds that the people consuming this content are small minorities who have extreme views already.” The problem with the bulk of the earlier research, Nyhan told me, is that it’s almost all correlational. “Many of these studies will find polarization on social media,” he said. “But that might just be the society we live in reflected on social media!” He hastened to add, “Not that this is untroubling, and none of this is to let these companies, which are exercising a lot of power with very little scrutiny, off the hook. But a lot of the criticisms of them are very poorly founded. . . . The expansion of Internet access coincides with fifteen other trends over time, and separating them is very difficult. The lack of good data is a huge problem insofar as it lets people project their own fears into this area.” He told me, “It’s hard to weigh in on the side of ‘We don’t know, the evidence is weak,’ because those points are always going to be drowned out in our discourse. But these arguments are systematically underprovided in the public domain.”

In his Atlantic article, Haidt leans on a working paper by two social scientists, Philipp Lorenz-Spreen and Lisa Oswald, who took on a comprehensive meta-analysis of about five hundred papers and concluded that “the large majority of reported associations between digital media use and trust appear to be detrimental for democracy.” Haidt writes, “The literature is complex—some studies show benefits, particularly in less developed democracies—but the review found that, on balance, social media amplifies political polarization; foments populism, especially right-wing populism; and is associated with the spread of misinformation.” Nyhan was less convinced that the meta-analysis supported such categorical verdicts, especially once you bracketed the kinds of correlational findings that might simply mirror social and political dynamics. He told me, “If you look at their summary of studies that allow for causal inferences—it’s very mixed.”

As for the studies Nyhan considered most methodologically sound, he pointed to a 2020 article called “The Welfare Effects of Social Media,” by Hunt Allcott, Luca Braghieri, Sarah Eichmeyer, and Matthew Gentzkow. For four weeks prior to the 2018 midterm elections, the authors randomly divided a group of volunteers into two cohorts—one that continued to use Facebook as usual, and another that was paid to deactivate their accounts for that period. They found that deactivation “(i) reduced online activity, while increasing offline activities such as watching TV alone and socializing with family and friends; (ii) reduced both factual news knowledge and political polarization; (iii) increased subjective well-being; and (iv) caused a large persistent reduction in post-experiment Facebook use.” But Gentzkow reminded me that his conclusions, including that Facebook may slightly increase polarization, had to be heavily qualified: “From other kinds of evidence, I think there’s reason to think social media is not the main driver of increasing polarization over the long haul in the United States.”

In the book “Why We’re Polarized,” for example, Ezra Klein invokes the work of such scholars as Lilliana Mason to argue that the roots of polarization might be found in, among other factors, the political realignment and nationalization that began in the sixties, and were then sacralized, on the right, by the rise of talk radio and cable news. These dynamics have served to flatten our political identities, weakening our ability or inclination to find compromise. Insofar as some forms of social media encourage the hardening of connections between our identities and a narrow set of opinions, we might increasingly self-select into mutually incomprehensible and hostile groups; Haidt plausibly suggests that these processes are accelerated by the coalescence of social-media tribes around figures of fearful online charisma. “Social media might be more of an amplifier of other things going on rather than a major driver independently,” Gentzkow argued. “I think it takes some gymnastics to tell a story where it’s all primarily driven by social media, especially when you’re looking at different countries, and across different groups.”

Another study, led by Nejla Asimovic and Joshua Tucker, replicated Gentzkow’s approach in Bosnia and Herzegovina, and they found almost precisely the opposite results: the people who stayed on Facebook were, by the end of the study, more positively disposed to their historic out-groups. The authors’ interpretation was that ethnic groups have so little contact in Bosnia that, for some people, social media is essentially the only place where they can form positive images of one another. “To have a replication and have the signs flip like that, it’s pretty stunning,” Bail told me. “It’s a different conversation in every part of the world.”

Nyhan argued that, at least in wealthy Western countries, we might be too heavily discounting the degree to which platforms have responded to criticism: “Everyone is still operating under the view that algorithms simply maximize engagement in a short-term way” with minimal attention to potential externalities. “That might’ve been true when Zuckerberg had seven people working for him, but there are a lot of considerations that go into these rankings now.” He added, “There’s some evidence that, with reverse-chronological feeds”—streams of unwashed content, which some critics argue are less manipulative than algorithmic curation—“people get exposed to more low-quality content, so it’s another case where a very simple notion of ‘algorithms are bad’ doesn’t stand up to scrutiny. It doesn’t mean they’re good, it’s just that we don’t know.”

Bail told me that, over all, he was less confident than Haidt that the available evidence lines up clearly against the platforms. “Maybe there’s a slight majority of studies that say that social media is a net negative, at least in the West, and maybe it’s doing some good in the rest of the world.” But, he noted, “Jon will say that science has this expectation of rigor that can’t keep up with the need in the real world—that even if we don’t have the definitive study that creates the historical counterfactual that Facebook is largely responsible for polarization in the U.S., there’s still a lot pointing in that direction, and I think that’s a fair point.” He paused. “It can’t all be randomized control trials.”

Haidt comes across in conversation as searching and sincere, and, during our exchange, he paused several times to suggest that I include a quote from John Stuart Mill on the importance of good-faith debate to moral progress. In that spirit, I asked him what he thought of the argument, elaborated by some of Haidt’s critics, that the problems he described are fundamentally political, social, and economic, and that to blame social media is to search for lost keys under the streetlamp, where the light is better. He agreed that this was the steelman opponent: there were predecessors for cancel culture in de Tocqueville, and anxiety about new media that went back to the time of the printing press. “This is a perfectly reasonable hypothesis, and it’s absolutely up to the prosecution—people like me—to argue that, no, this time it’s different. But it’s a civil case! The evidential standard is not ‘beyond a reasonable doubt,’ as in a criminal case. It’s just a preponderance of the evidence.”

The way scholars weigh the testimony is subject to their disciplinary orientations. Economists and political scientists tend to believe that you can’t even begin to talk about causal dynamics without a randomized controlled trial, whereas sociologists and psychologists are more comfortable drawing inferences on a correlational basis. Haidt believes that conditions are too dire to take the hardheaded, no-reasonable-doubt view. “The preponderance of the evidence is what we use in public health. If there’s an epidemic—when COVID started, suppose all the scientists had said, ‘No, we gotta be so certain before you do anything’? We have to think about what’s actually happening, what’s likeliest to pay off.” He continued, “We have the largest epidemic ever of teen mental health, and there is no other explanation,” he said. “It is a raging public-health epidemic, and the kids themselves say Instagram did it, and we have some evidence, so is it appropriate to say, ‘Nah, you haven’t proven it’?”

This was his attitude across the board. He argued that social media seemed to aggrandize inflammatory posts and to be correlated with a rise in violence; even if only small groups were exposed to fake news, such beliefs might still proliferate in ways that were hard to measure. “In the post-Babel era, what matters is not the average but the dynamics, the contagion, the exponential amplification,” he said. “Small things can grow very quickly, so arguments that Russian disinformation didn’t matter are like COVID arguments that people coming in from China didn’t have contact with a lot of people.” Given the transformative effects of social media, Haidt insisted, it was important to act now, even in the absence of dispositive evidence. “Academic debates play out over decades and are often never resolved, whereas the social-media environment changes year by year,” he said. “We don’t have the luxury of waiting around five or ten years for literature reviews.”

Haidt could be accused of question-begging—of assuming the existence of a crisis that the research might or might not ultimately underwrite. Still, the gap between the two sides in this case might not be quite as wide as Haidt thinks. Skeptics of his strongest claims are not saying that there’s no there there. Just because the average YouTube user is unlikely to be led to Stormfront videos, Nyhan told me, doesn’t mean we shouldn’t worry that some people are watching Stormfront videos; just because echo chambers and foreign misinformation seem to have had effects only at the margins, Gentzkow said, doesn’t mean they’re entirely irrelevant. “There are many questions here where the thing we as researchers are interested in is how social media affects the average person,” Gentzkow told me. “There’s a different set of questions where all you need is a small number of people to change—questions about ethnic violence in Bangladesh or Sri Lanka, people on YouTube mobilized to do mass shootings. Much of the evidence broadly makes me skeptical that the average effects are as big as the public discussion thinks they are, but I also think there are cases where a small number of people with very extreme views are able to find each other and connect and act.” He added, “That’s where many of the things I’d be most concerned about lie.”

The same might be said about any phenomenon where the base rate is very low but the stakes are very high, such as teen suicide. “It’s another case where those rare edge cases in terms of total social harm may be enormous. You don’t need many teen-age kids to decide to kill themselves or have serious mental-health outcomes in order for the social harm to be really big.” He added, “Almost none of this work is able to get at those edge-case effects, and we have to be careful that if we do establish that the average effect of something is zero, or small, that it doesn’t mean we shouldn’t be worried about it—because we might be missing those extremes.” Jaime Settle, a scholar of political behavior at the College of William & Mary and the author of the book “Frenemies: How Social Media Polarizes America,” noted that Haidt is “farther along the spectrum of what most academics who study this stuff are going to say we have strong evidence for.” But she understood his impulse: “We do have serious problems, and I’m glad Jon wrote the piece, and down the road I wouldn’t be surprised if we got a fuller handle on the role of social media in all of this—there are definitely ways in which social media has changed our politics for the worse.”

It’s tempting to sidestep the question of diagnosis entirely, and to evaluate Haidt’s essay not on the basis of predictive accuracy—whether social media will lead to the destruction of American democracy—but as a set of proposals for what we might do better. If he is wrong, how much damage are his prescriptions likely to do? Haidt, to his great credit, does not indulge in any wishful thinking, and if his diagnosis is largely technological his prescriptions are sociopolitical. Two of his three major suggestions seem useful and have nothing to do with social media: he thinks that we should end closed primaries and that children should be given wide latitude for unsupervised play. His recommendations for social-media reform are, for the most part, uncontroversial: he believes that preteens shouldn’t be on Instagram and that platforms should share their data with outside researchers—proposals that are both likely to be beneficial and not very costly.

It remains possible, however, that the true costs of social-media anxieties are harder to tabulate. Gentzkow told me that, for the period between 2016 and 2020, the direct effects of misinformation were difficult to discern. “But it might have had a much larger effect because we got so worried about it—a broader impact on trust,” he said. “Even if not that many people were exposed, the narrative that the world is full of fake news, and you can’t trust anything, and other people are being misled about it—well, that might have had a bigger impact than the content itself.” Nyhan had a similar reaction. “There are genuine questions that are really important, but there’s a kind of opportunity cost that is missed here. There’s so much focus on sweeping claims that aren’t actionable, or unfounded claims we can contradict with data, that are crowding out the harms we can demonstrate, and the things we can test, that could make social media better.” He added, “We’re years into this, and we’re still having an uninformed conversation about social media. It’s totally wild.”

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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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