Notice bibliographique
Résumé
Isuma: Inuit Video Art. By Michael Robert Evans. (Montreal and Kingston: McGill-Queen's University Press, 2008. Pp. xiv + 236. Glossary, notes, references, index. $95.00 clotii, $29.95 paper); The Fast Runner: Filming the Legend of Atanariuat. By Michael Robert Evans. (Lincoln: University of Nebraska Press, 2010. Pp. xxii + 176. Illustrations, series editors' introduction, list of characters, guide to pronunciation, glossary, notes, bibliography, index, photographs. $19.95 paper.)For many urban authences and film critics in the mainstream news media, the Inuit film Atanarjuat/The Fast Runner appeared as a complete surprise. As the first Inuit-made feature-length drama, the film's story, landscape, aesthetics and cultural orientation felt completely new to many viewers outside of the arctic. The film awards at festivals around the world, including the Camera d'Or prize at the Cannes Film Festival and multiple Canadian Genie awards, received enthusiastic reviews in the New York Times and other major publications, and turned a profit in its theatrical run, an especially remarkable feat for a nearly three-hour film shot entirely in the Inuktitut language.But Atanarjuat is actually a very old story, a legend grounded in die small arctic community of Igloolik, in Nunavut, Canada. And the filmmakers - members of the Isuma production company - had already been making films together for more than twenty years. Their films are aesthetically sophisticated in terms of cinematography, performances, sound, narrative structure, pacing and other audio-visual and technological elements. And Isuma's films, along with those of other Indigenous media organizations outside of the arctic (such as CAAMA in Australia) , are also important in the context of broader international movements for Indigenous rights and control over Indigenous images in mass media. Isuma's ongoing projects also link Inuit video production with the millennial impact of new media. Isuma maintains extensive websites for its films, including Atanarjuat, and recendy launched Isuma TV, a multi-channel online streaming video site for Indigenous films. These strategic internet expansions bridge remote communities in a global network and make Indigenous audiovisual storytelling much more widely available.Michael Robert Evans has written two books, one about the people and work of Isuma, and the other a focused study of their signature feature film, Atanarjuat. Both books reveal the strengths of Evans' training in journalism and folklore; they are written with a clear style, effective description, and a feel for storytelling, making the books accessible for a broader authence than is usual for scholarly studies. Isuma: Inuit Video Art describes the work of Isuma and its key members, Zacharias Kunuk, Norman Cohn, and Pauloosie Qulitalik, during die period just before A tanariuat was completed. Based on Evans' nine months of fieldwork in Igloolik, Isuma describes the work of the Isuma company from a number of angles: as a form of cultural expression or folklore, as a form of resistance to the colonizing practices of the surrounding Canadian society, and as the result of a unique production practice that honors and disseminates ttaditional knowledge while also strengthening the local economy.Evans opens with a useful overview that positions Inuit video in relation to Inuit art and to theories of folklore and mass media articulated by Dell Hymes, Linda Degh, Henry Glassie, Richard Bauman and others, as well as scholars in visual anthropology such as Faye Ginsburg. Evans situates Inuit media in the context of both mass media and folkloric performative variants not just because of its content but also, crucially, because of Isuma's processes of production and reception. He argues that Isuma's videos function simultaneously as cultural Uansmission through storytelling performance, material culture, and folklife. His discussion of the video makers' relationships with their authences is particularly nuanced, and in re-defining film as a form of performance, his analysis suggests a re-definition of the field - what folklore is, how it is transmitted - in light of developments in film and technological methods of storytelling and transmission. …
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 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 | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,002 |
| Études des sciences et des technologies | 0,004 | 0,001 |
| Communication savante | 0,007 | 0,003 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,228 | 0,050 |
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 ».