Notice bibliographique
Résumé
The Unseen Alistair Cooke (2008). Produced and directed by Rachel Jardine. Distributed by BBC Productions and WGBH Boston. www.pbs.org/wgbh. 56 minutes. The grainy footage of Charlie Chaplin is jumpy, but starkly revealing, though a prototypical cinema verite director had provoked a satyr with multiple personalities. Close-ups catch the 44-year-old Chaplin in lunatic facial contortions: with bulging eyes he rolls out his tongue, he bares his canines and turns his forefingers into horns against his curly graying head, he thrusts his forefinger forward in a hey-you gesture his stare turns menacing. Playful mugging, or something deeper? This, the only extant footage of Chaplin in secluded repose, comes from a home movie shot by Alistair Cooke, the British /American journalist, television host, and bon vivant, whose life Rachel Jardine commemorates in her even-handed documentary, The Unseen Alistair Cooke. The title alludes to a cache of 150 reels of 8 mm film - spanning three decades - discovered in the basement of Cooke's Fifth Avenue apartment block after his death in 2004. The reels contain precious footage of the North American outdoors shot from a moving car - the Canadian wilderness, Yosemite National Park, the new Hoover Dam. Cooke recorded Americana. Among the cityscapes and signage is a drive-in waitress decked out a drum majorette walking with a tray of milk shakes. Cooke also filmed his celebrity friends, such Lauren Bacali and Humphrey Bogart. The Chaplin footage, shot on board his yacht, includes Paulette Goddard, Chaplin's 22-year-old wife, reclining on deck as trim and shiny a trout. Like a fleeting experimental film exploring motion and light, an angled close-up of her head is framed against the glimmering Catalina Island sea. Cooke met Chaplin in 1933, finagling an interview through sheer chutzpah - he later put it. Chaplin was taken with the 24year-old' s linguistic facility; they became fast friends. Few were deeply infatuated and conversant about American culture Cooke, who spent more than 50 years exploring the country's hidden byways and cultural well-springs. He also wrote about poh tics, serving the Manchester Guardian's chief American correspondent from 1947 to 1972. Cooke wedded his jeweled observer's to an objective style. He reported what he saw, but never what he thought of it, evidence by his eye witness account of the moments immediately after Robert F. Kennedy's assassination (at the Ambassador Hotel in 1968): There were flashlights by now and the button eyes of Ethel Kennedy turned to cinders. She was slapping a young man and he was saying, 'Listen, lady, I'm hurt too.' And down on the greasy floor was a huddle of clothes and staring out of it the face of Bobby Kennedy, like the stone face of a child lying on a cathedral tomb. Like Cooke's own writing, Jardine' s documentary is critically distant, but not without an eye for human drama. In one segment, Cooke's son, John Byrne Cooke, recalls a scene from childhood: his father taking great pains to film the boy's electric train set. Some 60 years later, the younger Cooke is astonished to discover that he doesn't appear in a single frame: If I were visiting my six-year-old boy, I'd shoot the boy well the trains. …
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) | 0,001 | 0,001 |
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 ».