Notice bibliographique
Résumé
Mention Jamaican cinema and inevitably, one thinks of The Harder They Come, the Perry Henzell film that marked the country's entry into feature film production in 1972. Indeed, The Harder They Come enjoyed such critical and popular success, both at home and abroad, that it created unrealistically high expectations for the future of film production in Jamaica. So that, although the following decade saw the emergence of a small number, but some notable films, the years following The Harder They Come were popularly regarded as a period of disappointment when the films that did emerge - Smile Orange (1975), Rockers (1978), Children of Babylon (1980) and Countryman (1982) - failed to achieve either the critical acclaim or box office success of their forerunner. However, the publication of Ex-Iles1 in 1992, a collection of essays on Anglophone and Francophone Caribbean cinema, and Keith Q. Warner's On Location2 in 2000, signalled new interest in a body of work that had previously been largely eclipsed by Henzell' s now iconic film. These publications notwithstanding, omissions and oversights still occur. Milton Vickerman's 1999 article, Representing West Indians in Film: Ciphers, Coons, and Criminals, which examines stereotypes of West Indians, mainly in films made outside the region, lists in an appendix, 1 13 films with West Indian characters or themes released between 1 92 1 and 1993 3 The list makes note of The Harder They Come (which is also briefly referred to in the body of the article), Rockers, Countryman and The Lunatic (1992), but fails to mention two Jamaican films that fall within that period, Smile Orange and Children of Babylon. An omission of this type may unwittingly help to cement the invisibility of lesser known works: a listing of 113 films suggests an exhaustive and complete accounting, and eventually becomes a point of reference and source of information. One of the objectives of this article, therefore, is to draw critical attention to one of those early films, Smile Orange. Lacking The Harder They Corners major marketing asset - a reggae soundtrack - Smile Orange did not successfully penetrate overseas markets, despite initial favourable reviews and screenings at film festivals outside of Jamaica. Thanks to the release of the film on DVD, however, it is known in Jamaica and Jamaica diaspora communities. Directed by Trevor Rhone, whose achievements in the Jamaican theatre are well known, but whose work in the cinema is not sufficiently celebrated, Smile Orange is an adaptation of his immensely popular play of the same name. Rhone's first big hit as a playwright, Smile Orange enjoyed an unprecedented run of 245 performances when it was first staged in Jamaica in 1971 under the direction of Dennis Scott.4 Rhone, along with David Ogden, wrote the screenplay for Smile Orange and directed the film himself. Rhone has actually worked on a number of films; in addition to co-writing the screenplay for The Harder They Come, with Director, Perry Henzell, he also co-wrote the sceenplay for Milk and Honey (1986), a Canadian production that was partly filmed in Jamaica (for which he won a Genie Award), and more recently, he wrote the screenplay for One Love (2003). As Rhone's first and, so far, only attempt at film directing, Smile Orange is visually uninspiring; the sensibility and aesthetic of the playwright rather than the cinematographer is evident. But the talented cast's strong performance, in particular Carl Bradshaw in the lead role as Ringo, brings to life a screenplay that is layered with irony and hilarious from beginning to end. The film adaptation is faithful to the original work, retaining much of the original plot, as well as much of the original dialogue, and it reflects the concerns and themes of the play. Mervyn Morris's description of the play as, Funny and deadly serious... a devastating comment on attitudes the tourist industry harbours or can breed,5 is equally applicable to the movie. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».