More specifically, theres a tendency for people to look at and like things that are new but not too new. If its way out there, its hard to palate, said Sreenivasan. And if its too familiar, then it seems boring. A model known as the Wundt-Berlyne curve illustrates this result. The amount of pleasure someone derives from a creative piece goes up as its novelty increases. But at a certain point, there is a maximum of enjoyment. After that, something becomes too unfamiliar to stomach anymore. Using the revenue generated by different films as a measure of its mass appeal, Sreenivasan found that more novel films sold more tickets until they reached a score of about 0.8. Afterwards, they appeared to decline in popularity and revenue. I thought overall this was quite an interesting study, said mathematician and computer scientist Erez Lieberman Aiden of Baylor College of Medicine and Rice University, who helped develop Googles Ngram Viewer . Aiden added that he wondered if there was some bias in the way tags were applied to older movies. Modern day audiences might not notice certain subtleties or differences in movies from the 30s, 40s, and 50s, perhaps making them appear more uniform in the final result. As well, cultural events at the time when a particular tag became heavily used could skew the results.
“It was purely an organic thing,” Handley said. “It was a reaction to actually watching the movie.” ON LOCATION: Where the cameras roll Most positive buzz: Universal Pictures’ “Despicable Me 2” received the most favorable comments in its opening week, with 92% of posts praising the animated film. “This is, by far, the standout when it comes to sustained positive buzz, pre- and post-release,” Handley said. Most fanboy buzz: Warner Bros.’ “Pacific Rim” captured the hearts of male enthusiasts, who talked animatedly about director Guillermo del Toro films, mulled specific details about the set, props and technology used in the production and generally geeked out about the science fiction film. Eleven percent of the conversation in the week before and after release came from these fanboys. Most kids-at-heart desire to see: Disney/Pixar Animation Studios’ “Monsters University” was the most successful family film when it came to connecting with parents. Some 19% of the social media discussion in the week leading up to release came from adults who proclaimed they wanted to see the movie because they were still “kids at heart.” “That’s important to getting parents to want to take their kids to a movie,” Handley said. “Other animated movies that may not have done so well, you’re getting much less (of this) conversation.” PHOTOS: Hollywood Backlot moments Best use of social: Universal Pictures’ “The Purge,” the science fiction film that explores what would happen if, once a year, people could commit any crime without legal consequences, had people on social media talking about what they’d do if the purge were real. The studio’s hashtag (or label), #SurviveTheNight, had fans engaged in a conversation about the movie’s premise rather than merely passing along promotional materials, Handley said. Most fangirl buzz: Disney/Marvel Entertainment’s “Iron Man 3” generated the most fangirl swoon. Females accounted for more than 57% of the people talking positively about the film, with fans posting enthusiastically (in all capital letters, with emoticons) about their desire to see the film, their love of actor Robert Downey Jr.
At the turn of the 1960s into the 1970s, Bang appeared in a string of low-budget movies such as Maidstone and The Sky Pirate. At one point, she also briefly became part of Don Kirshner’s extended stable of talent when she was cast in the pilot for a proposed musical/western series called The Kowboys. The series, co-starring a young Michael Martin Murphey and Boomer Castleman, both of the band the Lewis & Clark Expedition, was an odd western/musical adventure series, sort of The Monkees meets Here Come The Brides, and failed to sell, though the pilot did air in the summer of 1970. Bang resumed her career as a perennial guest star, working in television dramas (Mission Impossible, The Bold Ones, The Young Lawyers, Hawaii Five-0) before returning to feature film work in Red Sky At Morning and Pretty Maids All In A Row. In most of these movies, and in her television work in a toned-down manner, Bang usually played a gentle free-spirited girl, evocative of the popular perception of the “hippie” ethos, seemingly innocent about yet cognizant of her youthful sexuality, and all the more provocative for that combination of attributes. As a point of reference, Carly Simon had achieved something of a similar portrayal with her on-screen acting/performing appearance in Milos Forman’s Taking Off at just about this same time. And with her image, innocent looks, and inherently provocative name, Bang should have been a natural for the talk-show circuit (one can just imagine Johnny Carson, in his “Art Fern/Tea-Time Movie” voice, having merciless fun announcing her as a guest) and media stardom. But it never quite happened that way, and she remained a working actress with a small (but growing) cult following. Bang did move up to a better class of movie and much larger big-screen roles in 1972, in Bill L. Norton’s Cisco Pike and Paul Williams’ Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues, before making what should have been a career-defining appearance in Woody Allen’s film of his own stage hit Play It Again, Sam (1972), as Julie, the willowy, free-loving girl that Allen’s nebish-y protagonist takes out on a disastrous date. (Ironically, Diane Keaton, who co-starred in the movie Play It Again, Sam and the original play, had been up for the role that Bang won in The Kowboys pilot). That same year, she had a co-starring role in Night Of The Cobra Woman, a low-budget Philippines-made horror picture in which Bang — playing a research scientist — battles a supernatural menace. This picture, rather than Allen’s movie, seemed to define the path of her career — by the following year, she was co-starring in the horror film Messiah Of Evil (which earned her screen credits alongside the likes of Elisha Cook, Jr. and Royal Dano). These pictures weren’t enough to sustain a career, however — horror stardom at that production level wouldn’t become a route to enduring work until the following decade, and the advent of made-for-cable and direct-to-video genre films — and after appearances in episodes of Adam-12 and Police Story she retired from acting.