Yep, that's definitely on the list. The only issue that I am battling with is how to take something as a positive signal to build these patterns on. Because if i take the entire universe of films, there is probably every variation of arcs. But some have worked / resonated with audiences and some haven't. The way European Cinema has been funded (predominantly through governments) mean that they do the film circuit and then disappear - and the filmmakers are off to make the next film grant. How do i find the signal to identify whats a good film or not.

There was this snide remark that someone in hollywood made where they said, they make movies whereas Europe makes (art) cinema.

I havent figured out how to resolve that yet.

But yes to korean, japanese films - that's very much on the list.

This is all very interesting and I appreciate your commitment to serious research.

> How do i find the signal to identify whats a good film or not.

What is your the definition of 'good'? Without having that, answering the question of a signal is impossible, of course.

Popularity is not necessarily a signal of resonance. It's arguably a consequence of distribution; marketing; appeal to the population of potential movie goers, often thought to be males in their late teens and early 20s going in groups; non-challenging content; etc.

Many films considered 'great' have not been popular, which of course is true in many artforms. Also, what matters more in your measurement, a film that resonates a little for many, or one that resonates a lot for few?

(Sorry if these questions are answered on the website; it's not loading for me.)