Notice bibliographique
Résumé
Everything Will Be Fine: An Interview with Fatima El-Tayeb Barbara Kosta Introduction Fatima El-Tayeb collaborated with director Angelina Maccarone in writing the script for the feature film Everything Will Be Fine (Alles wird gut, 1997), for which they received a grant from the state of SchleswigHolstein in 1996. The film has won awards at the New Festival in New York, at Toronto's Inside Out, and at the Gay and Lesbian Film Festival in Los Angeles. Alles wird gut was published in book form by the Orlanda Frauenverlag in 1999. El-Tayeb is an Afro-German scholar who earned her doctorate in History from the University of Hamburg, where she wrote her dissertation entitled "Black Germans and German Racism: Oxymoron or Repressed History: African Germans and the Discourse on 'Race,' 1900-1933." A revised version of this study, Schwarze Deutsche: Der Diskurs um "Rasse" und nationale Identität 1890-1933, has been published by Campus Verlag. El-Tayeb was the special guest at the 2001 Women in German conference in Rio Rico, Arizona. The interview was inspired by the discussion that followed the film screening there and took place via e-mail. Interview Barbara Kosta: You and Angelina Maccarone worked together to produce the script for Alles wird gut. Could you please talk about your collaboration ? How did the idea for thefilm develop? Fatima El-Tayeb: Angelina and I have been friends for a long time. While she was in the process of writing the script for her first movie Kommt Maust raus? [dir. Alexander Scherer, 1994; Is Mausi Coming Out?!], we talked a lot about it and realized that we would probably work very well together. The experience she had co-directing that first Women in German Yearbook 18 (2002) 32Interview with Fatima El-Tayeb movie was not very pleasant. Angelina was a newcomer and she was confronted full force with the power games in the film industry. The director and producer of Kommt Mausi raus? (for those who have seen Everything Will Be Fine, the character of the fish, Frau Müller, is based on the producer) went out of their way to put Angelina in "her place. " A particularly annoying aspect was that they refused to have one of the protagonists played by a black actress. They insisted that the casting of a black actress should have been made explicit in the script (of course, the script did not say anything about the character being white either). Angelina and I had talked before about writing a script together, but I think our idea to make a film with two black women in leading roles basically started then. The presence of black women on the screen is still extremely rare in mainstream films as well as in feminist/lesbian films, both in Germany and in the United States. The debates around racism in the lesbian community often resulted in the introduction of "the black character." In these cases, the protagonist is either reduced to being black, which means that blackness is used to initiate a discussion on racism, or a black person is totally "whitened," which means that she/he appears isolated in an otherwise white world with no connection to a community of color. We wanted our script to reflect the world that we actually were living in, an urban German scene that is not nearly as white as the media make it out to be. Our decision to cast two black women in leading roles had a lot to do with wanting to overcome this representation of blackness as a single and self-sufficient marker. Our initial idea was to create a situation in which two extremely different people are thrown together and these two characters would be both black and female. Originally we intended to make a road movie, because that genre provides such a good opportunity to present a relationship that evolves between people who initially do not seem to have anything in common. But then Thelma and Louise came out, and we did not want it to look like we were copying it. So instead, we decided to move in the direction of screwball comedy, which is a form of comedy...
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Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,007 | 0,013 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,021 | 0,008 |
| Communication savante | 0,004 | 0,006 |
| Science ouverte | 0,002 | 0,003 |
| Intégrité de la recherche | 0,005 | 0,012 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,008 | 0,002 |
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 source (Gemma direct ou Codex distillé), 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 ».