Considering Canadian Television: Intersections, Missed Directions, and the Prospects for Textual Expansion
Notice bibliographique
Résumé
In this special issue of CJFS/RCEC, we turn our attention a consideration of the cultural and artistic location of Canada. At first blush, there seems be nothing particularly revolutionary about this objective; is not as if represents a new medium, never before studied any great detail. We nod agreement with John Corner, who notes that there appears currently be both a strengthening and a widening of interest the study of different national contexts. According Corner, this has produced important results, including with the cultural character of (the development of its generic forms, its diverse connections with the changing terms of popular reality) rather than isolating itself off as a chronicle simply of technological change, corporate development and the growth (and perhaps erosion!) of national policy.1 With this mind, we wanted see how and what extent such engagements with were taking place Canada. Realizing that was impossible for a single journal issue span the range of methodological and theoretical approaches towards television, we believed a tighter thematic focus for this issue would produce the highest intellectual dividends. In considering different conceptual frameworks, we came realize that intersection offered a particularly useful theme for our purposes. This is not only because intersection represented the coming together of the two editors' shared research interests two different disciplines (communication and film) or a symbolic geographical point where the editors, located Ottawa and Nottingham, could meet. Instead, the theme sprang from our observation that this journal's mandate to promote scholarship on Canadian film and television is only half fulfilled when, as is the case historically, few contributions are devoted the cultural character of Canadian television. As a way partially redress this imbalance, we believed that would be productive consider the ways which film and intersect Canada. Judging by the positive response we received from members of the scholarly community our initiative and the quality of the submissions this particular issue, we believe this investigation provides some promising openings for the study of Canada. The Rumsfeldian absence of evidence of scholarship on Canadian is certainly not a problem limited CJFS/RCEC, which can only, after all, consider publishing essays that are submitted it. Instead, we have come realize that the problems that face the journal are symptomatic of a larger under-appreciation of the importance of studying Canada, which is apparent journals both communication and film studies. Although retains a considerable degree of influence on contemporary social, political and cultural life, Horace Newcomb's observation that most of us look at without ever really seeing it seems apropos when considering the dearth of scholarship on the subject Canada.2 This state of affairs usually rears its head whenever one tries assemble a reading package for a course module on Canadian and experiences the frustrating lack of materials that encompass the medium's extensive aesthetic, economic, and historical components. This fact caused us speculate as why this has been the case, ponder its consequences, and consider various points of contact for expanding the understanding of both media. In a distinctly Canadian fashion, the problems associated with the study of appear have been predicted by the authors of a Royal Commission report. In 1951, the authors of the Massey Commission's final report observed that Canada was in the proverbially happy position of having as yet no history.3 This sentiment was true from a particular nationalistic perspective. …
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 | 0,001 |
| 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 | 0,001 | 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 ».