Notice bibliographique
Résumé
The Legend of Longwood, situated in the realm of family adventure film, is one of a number of recent Irish films, including Pursuit (2015) and Song of the Sea (2014) to feature the use of myth prominently. The film follows twelve year old Mickey Miller, her mother, and younger brother as they move from New York to the fictional Irish village of Longwood after inheriting a home there. Mickey's arrival coincides with the return of the legendary Black Knight. Once a prominent and kind man living in the Dumonceau castle, after his baby daughter was kidnapped he became angry and bitter, working the villagers too hard and starving them in a manner reminiscent of Famine Era Ireland. On the night of a tragic fire that killed seven village children, the mysteriously disappeared and was believed dead. Since then, the village has been cursed by the Black who continues his search for his daughter. While the employment of the myth in this film will satisfy the film's younger viewers (and intended audience) with its fantastical elements, it raises different points for older viewers with economically-driven subplots, performative undertones, and questions of identity. Unlike the established Irish mythology used in Song of the Sea or Pursuit, the mythical story in The Legend of Longwood originated in the Netherlands, with the screenplay by Nadadja Kemper, and was then rewritten by director Lisa Mulcahy (Red Rock, The Clinic) for the Irish setting. This hybridisation speaks to the film's international co-production and financing: Grand Pictures (Ireland), Holland Harbour (the Netherlands), and Longwood Pictures (Germany), produced the film and it was funded by the Irish Film Board, the Dutch Film Fund, Premiere Pictures, and the German Federal Film Fund. This mixture of funding, the fact that the film was shot primarily in Wicklow and Dublin, and the plot which centres on an American heroine, all bear influence on the film and are reflected in its distribution to date. After premiering in July 2014 at the 44th Giffoni Film Festival in Italy, The Legend of Longwood continued to play on the Festival circuit in Europe and, in 2015, was released on DVD in the US and Canada, and theatrically in Germany, Ireland and the UK. The clear links between the film's funding, casting, narrative and the locations of its distribution, speak to the ways in which economic factors play a large role in how films are constructed. The topic of economic incentive also features prominently within this film, and is critiqued. The employment of myth in The Legend of Longwood acts, in two separate ways, to place Ireland in an international context. The first of these focuse on money and the second on identity. Early on in the film we are introduced to the commodification of Longwood, and its myth, in the village library. Here, we see a poster advertising the sights of Longwood as well as a rack of postcards for sale. As the librarian discusses having seen the Black recently, the Mayor picks up a postcard featuring the Knight, highlighting the degree to which the legend has become a product. This postcard sparks an idea for further revenue, and the Mayor schemes up a way to draw more visitors to the village. He enlists the help of a newspaperman to perform the myth and then write an article on it. After the Knight makes an appearance at the village's very public inaugural car rally and word spreads, the Mayor hopes that the intrigue of the legend will put the village on the map. Though he does not believe in the legend himself, the Mayor is more than happy to sell a performance of it. While hatching the plan, he says: There is no Black Knight. But then, the tourists don't know that.This statement, overtly referencing tourists (and how to fool them), brings to mind Ireland's own strong economic links with tourism. A recently published report by Failte Ireland detailing overseas tourism to Ireland in 2014, notes an overall growth of 6%, bringing in 7. …
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 | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,001 |
| 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 ».