Quantitative methods and the study of film
UPDATE: By sheer coincidence the day on which I gave this talk in Glasgow was also the day on which the Korean research on movie types was published online by the Journal of Media Economics. You can find a link to the published paper here.
On 14 and 15 May I gave a talk and a workshop at the University of Glasgow of quantitative methods and the study of film. It was very gratifying to meet a group of researchers who were interested in using, were already using, 0r had used quantitative methods and were looking to develop this more, but were a little tentative about moving forward. One thing that occurred to me on the (long) train journeys back from Glasgow is that there are some researchers out there studying film (and other media) who are ready to kick on with developing their quantitative skills but need a push; someone to tell them that it’s OK to do this, that it’s not completely alien and that you don’t need anyone’s permission to do something that is the ‘core process’ of the discipline. In my talk I argued that a change of mindset away from ‘Film Studies’ to the ‘study of film’ is the first step to adding quantitative methods to our toolbox for understanding the cinema. The second step it seems should be building the confidence of researchers to sustain that momentum. Once you’ve got your toes wet you want to get in the pool – but you might need your arm bands for a few weeks.
No-one from Screen attended the talk or workshop.
The text of my talk can be accessed here:
This talk addresses the analysis of film – its texts, its audiences, its political economy – in higher education, arguing for the abandonment Film Studies as either a subject or a discipline and approaching the cinema as a complex object of inquiry that demands an ecumenical methodological perspective in order that its numerous and various dimensions are fully comprehended. Though used widely by those studying the cinema beyond the narrow methodological confines of Film Studies, quantitative methods are at present underused by film scholars. To fix their place in the study of film and place the study of film in the wider world – particularly the BFI’s recent recognition of the importance of evidence-based policy making – I argue there is much to be gained from the application of quantitative methods in studying film and its audiences, and I illustrate this claim by drawing on a range of empirical studies.
This piece refers to some material available online.
The work on audiences and genre from KAIST can be accessed here: Shon, J.-H., Kim, Y.-G., & Yim, S.-J. (2012) Dissecting Movie Genres from an Audience Perspective: MTI Movie Classification Method, KAIST Business School Working Paper No. 2012-008.
Andrew McGregor Olney’s work on film genres can be accessed here: Olney, A.M. (2013) Predicting film genres with implicit ideals, Frontiers in Psychology 3: 565.
The summary of the 2011 Research and Policymaking symposium can be accessed here: Research and Policymaking for Film – A Symposium, 26 October 2011, Report of the Day.
My account of this symposium was published on this blog a week later and can be found here.
(The rhubarb crumble was also very good – and I say that as someone from Yorkshire were all the world’s rhubarb comes from).
Posted on May 16, 2014, in British Cinema, Film Analysis, Film Industry, Film Policy, Film Studies, Genre, Media Studies, Statistics and tagged British Cinema, Film Industry, Film Policy, Film Studies, Genre, Media Studies. Bookmark the permalink. 4 Comments.