Shooting the War: The Canadian Army Film Unit in the Second World War
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Notice bibliographique
Résumé
Very little has been written about the Canadian Army Film Unit (CAFU) since the end of the Second World War, despite Jon Farrellâs postulation. There have been a few short newspaper articles related to teh Film Unit and the D-Day footage that made it famous, but there has been no scholarly study by either military or film historians. The purpose of the CAFU was to create an official audio-visual record of Canadaâs Army, just as the official historians, war artists, and photographers were documenting other aspects of the war. The Film Unit started as only a few men, but expanded substantially throughout the war, increasing the scope and breadth of its productions. The men and women of the CAFU who operated the cameras, edited the film, and then distributed the finished products were different from the civilian war correspondents and commercial newsreel cameramen who were also creating a visual record of the war. The CAFU attached cameramen to military units and they shot real-time footage of Canadians in battle. This footage was then used to create the CAFU films, and formed the basis of the National Film Board of Canada (NFB) and commercial newsreel company productions.\nMost of the existing scholarship exploring Canadian film and the Second World War focuses on the NFB and John Grierson, the father of the documentary in Canada and the NFBâs first film commissioner. The historiography suggests that NFB was, for all practical purposes, the main film institution creating Canadian motion pictures. This was true, but much of its wartime film footage came from the cameras of the CAFUâfootage that was shot in harmâs way. Despite this neglect by historians, the CAFU played an essential role in the history of Canadian film. Much of what subsequent generations have seen or know about the Second World War comes from footage shot by the Film Unit. Yet it is a difficult story to tell since it must be pieced together using primary sources, both textual and audio-visual. The Film Unit will receive the credit that it deserves and will find its place again in the history of the Second World War.
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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 | 0,002 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,002 |
| Études des sciences et des technologies | 0,008 | 0,001 |
| Communication savante | 0,001 | 0,001 |
| Science ouverte | 0,002 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 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 découle