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Yes, Social Media Really Is Undermining Democracy – The Atlantic

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Within the past 15 years, social media has insinuated itself into American life more deeply than food-delivery apps into our diets and microplastics into our bloodstreams. Look at stories about conflict, and it’s often lurking in the background. Recent articles on the rising dysfunction within progressive organizations point to the role of Twitter, Slack, and other platforms in prompting “endless and sprawling internal microbattles,” as The Intercept’s Ryan Grim put it, referring to the ACLU. At a far higher level of conflict, the congressional hearings about the January 6 insurrection show us how Donald Trump’s tweets summoned the mob to Washington and aimed it at the vice president. Far-right groups then used a variety of platforms to coordinate and carry out the attack.

Social media has changed life in America in a thousand ways, and nearly two out of three Americans now believe that these changes are for the worse. But academic researchers have not yet reached a consensus that social media is harmful. That’s been a boon to social-media companies such as Meta, which argues, as did tobacco companies, that the science is not “settled.”

The lack of consensus leaves open the possibility that social media may not be very harmful. Perhaps we’ve fallen prey to yet another moral panic about a new technology and, as with television, we’ll worry about it less after a few decades of conflicting studies. A different possibility is that social media is quite harmful but is changing too quickly for social scientists to capture its effects. The research community is built on a quasi-moral norm of skepticism: We begin by assuming the null hypothesis (in this case, that social media is not harmful), and we require researchers to show strong, statistically significant evidence in order to publish their findings. This takes time—a couple of years, typically, to conduct and publish a study; five or more years before review papers and meta-analyses come out; sometimes decades before scholars reach agreement. Social-media platforms, meanwhile, can change dramatically in just a few years.

So even if social media really did begin to undermine democracy (and institutional trust and teen mental health) in the early 2010s, we should not expect social science to “settle” the matter until the 2030s. By then, the effects of social media will be radically different, and the harms done in earlier decades may be irreversible.

Let me back up. This spring, The Atlantic published my essay “Why the Past 10 Years of American Life Have Been Uniquely Stupid,” in which I argued that the best way to understand the chaos and fragmentation of American society is to see ourselves as citizens of Babel in the days after God rendered them unable to understand one another.

I showed how a few small changes to the architecture of social-media platforms, implemented from 2009 to 2012, increased the virality of posts on those platforms, which then changed the nature of social relationships. People could spread rumors and half-truths more quickly, and they could more readily sort themselves into homogenous tribes. Even more important, in my view, was that social-media platforms such as Twitter and Facebook could now be used more easily by anyone to attack anyone. It was as if the platforms had passed out a billion little dart guns, and although most users didn’t want to shoot anyone, three kinds of people began darting others with abandon: the far right, the far left, and trolls.

All of these groups were suddenly given the power to dominate conversations and intimidate dissenters into silence. A fourth group—Russian agents––also got a boost, though they didn’t need to attack people directly. Their long-running project, which ramped up online in 2013, was to fabricate, exaggerate, or simply promote stories that would increase Americans’ hatred of one another and distrust of their institutions.

The essay proved to be surprisingly uncontroversial—or, at least, hardly anyone attacked me on social media. But a few responses were published, including one from Meta (formerly Facebook), which pointed to studies it said contradicted my argument. There was also an essay in The New Yorker by Gideon Lewis-Kraus, who interviewed me and other scholars who study politics and social media. He argued that social media might well be harmful to democracies, but the research literature is too muddy and contradictory to support firm conclusions.

So was my diagnosis correct, or are concerns about social media overblown? It’s a crucial question for the future of our society. As I argued in my essay, critics make us smarter. I’m grateful, therefore, to Meta and the researchers interviewed by Lewis-Kraus for helping me sharpen and extend my argument in three ways.

Are Democracies Becoming More Polarized and Less Healthy?

My essay laid out a wide array of harms that social media has inflicted on society. Political polarization is just one of them, but it is central to the story of rising democratic dysfunction.

Meta questioned whether social media should be blamed for increased polarization. In response to my essay, Meta’s head of research, Pratiti Raychoudhury, pointed to a study by Levi Boxell, Matthew Gentzkow, and Jesse Shapiro that looked at trends in 12 countries and found, she said, “that in some countries polarization was on the rise before Facebook even existed, and in others it has been decreasing while internet and Facebook use increased.” In a recent interview with the podcaster Lex Fridman, Mark Zuckerberg cited this same study in support of a more audacious claim: “Most of the academic studies that I’ve seen actually show that social-media use is correlated with lower polarization.”

Does that study really let social media off the hook? It plotted political polarization based on survey responses in 12 countries, most with data stretching back to the 1970s, and then drew straight lines that best fit the data points over several decades. It’s true that, while some lines sloped upward (meaning that polarization increased across the period as a whole), others sloped downward. But my argument wasn’t about the past 50 years. It was about a phase change that happened in the early 2010s, after Facebook and Twitter changed their architecture to enable hyper-virality.

I emailed Gentzkow to ask whether he could put a “hinge” in the graphs in the early 2010s, to see if the trends in polarization changed direction or accelerated in the past decade. He replied that there was not enough data after 2010 to make such an analysis reliable. He also noted that Meta’s response essay had failed to cite a 2020 article in which he and three colleagues found that randomly assigning participants to deactivate Facebook for the four weeks before the 2018 U.S. midterm elections reduced polarization.

Meta’s response motivated me to look for additional publications to evaluate what had happened to democracies in the 2010s. I discovered four. One of them found no overall trend in polarization, but like the study by Boxell, Gentzkow, and Shapiro, it had few data points after 2015. The other three had data through 2020, and all three reported substantial increases in polarization and/or declines in the number or quality of democracies around the world.

One of them, a 2022 report from the Varieties of Democracy (V-Dem) Institute, found that “liberal democracies peaked in 2012 with 42 countries and are now down to the lowest levels in over 25 years.” It summarized the transformations of global democracy over the past 10 years in stark terms:

Just ten years ago the world looked very different from today. In 2011, there were more countries improving than declining on every aspect of democracy. By 2021 the world has been turned on its head: there are more countries declining than advancing on nearly all democratic aspects captured by V-Dem measures.

The report also notes that “toxic polarization”—signaled by declining “respect for counter-arguments and associated aspects of the deliberative component of democracy”—grew more severe in at least 32 countries.

A paper published one week after my Atlantic essay, by Yunus E. Orhan, found a global spike in democratic “backsliding” since 2008, and linked it to affective polarization, or animosity toward the other side. When affective polarization is high, partisans tolerate antidemocratic behavior by politicians on their own side––such as the January 6 attack on the U.S. Capitol.

And finally, the Economist Intelligence Unit reported a global decline in various democratic measures starting after 2015, according to its Democracy Index.

These three studies cannot prove that social media caused the global decline, but—contra Meta and Zuckerberg—they show a global trend toward polarization in the previous decade, the one in which the world embraced social media.

Has Social Media Created Harmful Echo Chambers?

So why did democracies weaken in the 2010s? How might social media have made them more fragmented and less stable? One popular argument contends that social media sorts users into echo chambers––closed communities of like-minded people. Lack of contact with people who hold different viewpoints allows a sort of tribal groupthink to take hold, reducing the quality of everyone’s thinking and the prospects for compromise that are essential in a democratic system.

According to Meta, however, “More and more research discredits the idea that social media algorithms create an echo chamber.” It points to two sources to back up that claim, but many studies show evidence that social media does in fact create echo chambers. Because conflicting studies are common in social-science research, I created a “collaborative review” document last year with Chris Bail, a sociologist at Duke University who studies social media. It’s a public Google doc in which we organize the abstracts of all the studies we can find about social media’s impact on democracy, and then we invite other experts to add studies, comments, and criticisms. We cover research on seven different questions, including whether social media promotes echo chambers. After spending time in the document, Lewis-Kraus wrote in The New Yorker: “The upshot seemed to me to be that exactly nothing was unambiguously clear.”

He is certainly right that nothing is unambiguous. But as I have learned from curating three such documents, researchers often reach opposing conclusions because they have “operationalized” the question differently. That is, they have chosen different ways to turn an abstract question (about the prevalence of echo chambers, say) into something concrete and measurable. For example, researchers who choose to measure echo chambers by looking at the diversity of people’s news consumption typically find little evidence that they exist at all. Even partisans end up being exposed to news stories and videos from the other side. Both of the sources that Raychoudhury cited in her defense of Meta mention this idea.

But researchers who measure echo chambers by looking at social relationships and networks usually find evidence of “homophily”—that is, people tend to engage with others who are similar to themselves. One study of politically engaged Twitter users, for example, found that they “are disproportionately exposed to like-minded information and that information reaches like-minded users more quickly.”

So should we throw up our hands and say that the findings are irreconcilable? No, we should integrate them, as the sociologist Zeynep Tufekci did in a 2018 essay. Coming across contrary viewpoints on social media, she wrote, is “not like reading them in a newspaper while sitting alone.” Rather, she said, “it’s like hearing them from the opposing team while sitting with our fellow fans in a football stadium … We bond with our team by yelling at the fans of the other one.” Mere exposure to different sources of news doesn’t automatically break open echo chambers; in fact, it can reinforce them.

These closely bonded groupings can have profound political ramifications, as a couple of my critics in the New Yorker article acknowledged. A major feature of the post-Babel world is that the extremes are now far louder and more influential than before. They may also become more violent. Recent research by Morteza Dehghani and his colleagues at the University of Southern California shows that people are more willing to commit violence when they are immersed in a community they perceive to be morally homogeneous.

This finding seems to be borne out by a statement from the 18-year-old man who recently killed 10 Black Americans at a supermarket in Buffalo. In the Q&A portion of the manifesto attributed to him, he wrote:

Where did you get your current beliefs?

Mostly from the internet. There was little to no influence on my personal beliefs by people I met in person.

The killer goes on to claim that he had read information “from all ideologies,” but I find it unlikely that he consumed a balanced informational diet, or, more important, that he hung out online with ideologically diverse users. The fact that he livestreamed his shooting tells us he assumed that his community shared his warped worldview. He could not have found such an extreme yet homogeneous group in his small town 200 miles from Buffalo. But thanks to social media, he found an international fellowship of extreme racists who jointly worshipped past mass murderers and from whom he copied sections of his manifesto.

Is Social Media the Primary Villain in This Story?

In her response to my essay, Raychoudhury did not deny that Meta bore any blame. Rather, her defense was two-pronged, arguing that the research is not yet definitive, and that, in any case, we should be focusing on mainstream media as the primary cause of harm.

Raychoudhury pointed to a study on the role of cable TV and mainstream media as major drivers of partisanship. She is correct to do so: The American culture war has roots going back to the turmoil of the 1960s, which activated evangelicals and other conservatives in the ’70s. Social media (which arrived around 2004 and became truly pernicious, I argue, only after 2009) is indeed a more recent player in this phenomenon.

In my essay, I included a paragraph on this backstory, noting the role of Fox News and the radicalizing Republican Party of the ’90s, but I should have said more. The story of polarization is complex, and political scientists cite a variety of contributing factors, including the growing politicization of the urban-rural divide; rising immigration; the increasing power of big and very partisan donors; the loss of a common enemy when the Soviet Union collapsed; and the loss of the “Greatest Generation,” which had an ethos of service forged in the crisis of the Second World War. And although polarization rose rapidly in the 2010s, the rise began in the ’90s, so I cannot pin the majority of the rise on social media.

But my essay wasn’t primarily about ordinary polarization. I was trying to explain a new dynamic that emerged in the 2010s: the fear of one another, even—and perhaps especially––within groups that share political or cultural affinities. This fear has created a whole new set of social and political problems.

The loss of a common enemy and those other trends with roots in the 20th century can help explain America’s ever nastier cross-party relationships, but they can’t explain why so many college students and professors suddenly began to express more fear, and engage in more self-censorship, around 2015. These mostly left-leaning people weren’t worried about the “other side”; they were afraid of a small number of students who were further to the left, and who enthusiastically hunted for verbal transgressions and used social media to publicly shame offenders.

A few years later, that same fearful dynamic spread to newsrooms, companies, nonprofit organizations, and many other parts of society. The culture war had been running for two or three decades by then, but it changed in the mid-2010s when ordinary people with little to no public profile suddenly became the targets of social-media mobs. Consider the famous 2013 case of Justine Sacco, who tweeted an insensitive joke about her trip to South Africa just before boarding her flight in London and became an international villain by the time she landed in Cape Town. She was fired the next day. Or consider the the far right’s penchant for using social media to publicize the names and photographs of largely unknown local election officials, health officials, and school-board members who refuse to bow to political pressure, and who are then subjected to waves of vitriol, including threats of violence to themselves and their children, simply for doing their jobs. These phenomena, now common to the culture, could not have happened before the advent of hyper-viral social media in 2009.

This fear of getting shamed, reported, doxxed, fired, or physically attacked is responsible for the self-censorship and silencing of dissent that were the main focus of my essay. When dissent within any group or institution is stifled, the group will become less perceptive, nimble, and effective over time.

Social media may not be the primary cause of polarization, but it is an important cause, and one we can do something about. I believe it is also the primary cause of the epidemic of structural stupidity, as I called it, that has recently afflicted many of America’s key institutions.

What Can We Do to Make Things Better?

My essay presented a series of structural solutions that would allow us to repair some of the damage that social media has caused to our key democratic and epistemic institutions. I proposed three imperatives: (1) harden democratic institutions so that they can withstand chronic anger and mistrust, (2) reform social media so that it becomes less socially corrosive, and (3) better prepare the next generation for democratic citizenship in this new age.

I believe that we should begin implementing these reforms now, even if the science is not yet “settled.” Beyond a reasonable doubt is the appropriate standard of evidence for reviewers guarding admission to a scientific journal, or for jurors establishing guilt in a criminal trial. It is too high a bar for questions about public health or threats to the body politic. A more appropriate standard is the one used in civil trials: the preponderance of evidence. Is social media probably damaging American democracy via at least one of the seven pathways analyzed in our collaborative-review document, or probably not? I urge readers to examine the document themselves. I also urge the social-science community to find quicker ways to study potential threats such as social media, where platforms and their effects change rapidly. Our motto should be “Move fast and test things.” Collaborative-review documents are one way to speed up the process by which scholars find and respond to one another’s work.

Beyond these structural solutions, I considered adding a short section to the article on what each of us can do as individuals, but it sounded a bit too preachy, so I cut it. I now regret that decision. I should have noted that all of us, as individuals, can be part of the solution by choosing to act with courage, moderation, and compassion. It takes a great deal of resolve to speak publicly or stand your ground when a barrage of snide, disparaging, and otherwise hostile comments is coming at you and nobody rises to your defense (out of fear of getting attacked themselves).

Fortunately, social media does not usually reflect real life, something that more people are beginning to understand. A few years ago, I heard an insight from an older business executive. He noted that before social media, if he received a dozen angry letters or emails from customers, they spurred him to action because he assumed that there must be a thousand other disgruntled customers who didn’t bother to write. But now, if a thousand people like an angry tweet or Facebook post about his company, he assumes that there must be a dozen people who are really upset.

Seeing that social-media outrage is transient and performative should make it easier to withstand, whether you are the president of a university or a parent speaking at a school-board meeting. We can all do more to offer honest dissent and support the dissenters within institutions that have become structurally stupid. We can all get better at listening with an open mind and speaking in order to engage another human being rather than impress an audience. Teaching these skills to our children and our students is crucial, because they are the generation who will have to reinvent deliberative democracy and Tocqueville’s “art of association” for the digital age.

We must act with compassion too. The fear and cruelty of the post-Babel era is a result of its tendency to reward public displays of aggression. Social media has put us all in the middle of a Roman coliseum, and many in the audience want to see conflict and blood. But once we realize that we are the gladiators—tricked into combat so that we might generate “content,” “engagement,” and revenue—we can refuse to fight. We can be more understanding toward our fellow citizens, seeing that we are all being driven mad by companies that use largely the same set of psychological tricks. We can forswear public conflict and use social media to serve our own purposes, which for most people will mean more private communication and fewer public performances.

The post-Babel world will not be rebuilt by today’s technology companies. That work will be left to citizens who understand the forces that brought us to the verge of self-destruction, and who develop the new habits, virtues, technologies, and shared narratives that will allow us to reap the benefits of living and working together in peace.

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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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