Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
Just north of Belgrade, the Serbian city of Novi Sad is transformed at the begin-fling of summer. As the linden trees bloom, the smallest breeze scatters blossoms in everyone's hair, and fills the streets with a gentle perfume. In the midday heat, characteristically laid-back citizens gather beneath the sun umbrellas of cafe terraces, where they sip strong coffee until evening, when cooler air transforms gazes from languid to flirtatious. Finally, when night falls, the city's parks and squares light up with dancing images and haunting sounds of films from all over the world. This is the Cinema City International Rim Festival, a celebration designed to turn the whole of Novi Sad into one big cinema. Before Novi Sad's first modern multiplex opened in January of this year, the festival organisers had to be resourceful in order to screen more than one film at a time. The city's theatres and cultural centres were obvious venues, but as a summer festival, open-air screenings were also an appealing option. Although the opening and dosing ceremonies, as well as many regular screenings, now take place at the 'Arena' multiplex in the city centre, the festival remains true to its original concept of a city-wide event. With tickets priced at a modest 150 Serbian dinars (about 2 Canadian dollars), Cinema City is one of the world's more accessible film festivals. Cinema City is not only designed for the public's benefit: the festival's other main purpose to provide a forum for the nation's talent, giving Serbian directors the opportunity to show their work to the world. Cinema City's mission to promote domestic flimmaking is reflected in the distribution of its prizes: two thirds of the festival's signature Ibis awards are reserved for Serbian films, which compete in the 'National Class' category. This year's Ibis for Best Film in the National Class went to Nikola Lelaic's coming-of-age skater movie Tilva Ros (2010). The festival still lives up to its international label, as its other two competitive categories ('Exit Point' and 'Up to 10,000 Bucks1) are open to films from all over the world. 'Exit Point' showcases independent cinema on to a given theme (this year's theme was 'women'), while 'Up to 10,000 Bucks' is for low-budget (typically short) films. The Ibis for Best Film in the Exit Point category went to Czech director jan Hfiebejk's Kawasaki's Rose (2010), while Croatian director Irena Skoric took Best Film in the Up to 10,000 Bucks category with her 10-minute short, 'March 9th'. The festival also embraces international cinema in its out-of-competition selection. This year there were 14 non-competitive categories, encompassing fiction films and documentaries, shorts and features, new films and retrospectives. The only out-of-competition category devoted solely to domestic talent was an homage to actor Bata livojinovic who received a Lifetime Achievement Award for his work in more than 270 films and television series. A number of foreign artists were also honoured with retrospectives: Hungarian master BeJa Tarr, who made a guest appearance at the festival; Lithuanian director Sharunas Bartas, who headed the National Class jury; and Polish director Dorota K'dzierzawska, president of the Exit Point jury. K'dzierzawska was presented with an Ibis Award for Contribution to European Cinema, and the festival opened with her most recent film, Jutro b'dzie lepiej (Tomorrow Will be Better, 2010). There are a handful of awards in addition to Cinema City's own Ibis awards, some of which are open to films outside the festival's official competition. Rating films by secret ballot after each screening, the public selects one film from any category to win the Audience Award. This year's Audience Award nevertheless went to a film in the National Class: Cinema Komunisto (2010), Mila Turajlic's witty and moving documentary on the former Yugoslavia's film industry. Cinema City also invites two international critics' associations to present their awards. …
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.
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 | 0,000 |
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