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
My health was poor throughout the festival, and I was able to see only seventeen films, sometimes in a less than wonderful state of mind. What follows will therefore be somewhat scrappy and tentative. Which is not to say that any statement by anyone calling him/herself a critic should ever be considered 'authoritative'--leave that to the reviewers, whose job it is to tell you whether or not you should see a given film, whereas a critic attempts to involve you in a discussion about a film you have seen and hopefully know well. I write here (necessarily) as a reviewer, a role I distrust, offering some rough notes on a few of the films to which I felt a strong reaction, whether positive or negative. In each of the last two festivals one film has stood out for me as 'the best'. Last year it was the French/Moroccan Mille Mois, which apparently few saw except myself--I have not so far met anyone with whom to discuss it. I hoped it would have appeared by now on DVD, but this has happened only in France, available on the Internet but without subtitles (how good is your French? I can manage subtitles but not spoken French). This year--and with far more hope of some kind of release--the transcendent film is Jia Zhang-ke's The World, apparently seen and acclaimed by almost everyone. There are certain films where one somehow knows, from the opening shot, that one is in the presence of something remarkable--though in this case one had the prior experience of Jia's Platform and Unknown Pleasures to alert one in advance, whereas Mille Mois was, amazingly, a first film. When I walked out I felt as if I had been at the premiere of La Regle du Jeu or Rio Bravo or Tokyo Story or Letter from an Unknown Woman (none of which, however, as I recall, I especially liked when I first saw it!): there seemed the same total command of the medium, the same rightness of every shot. Whether this feeling will survive closer acquaintance is of course uncertain, but I feel a certain confidence. It is apparently the first film of Jia's that has the blessing of the Chinese authorities, and one wonders if they understood it: its most obvious strategy is to reveal the essential emptiness of the colossal theme park (major icons from the world's capital cities--Eiffel Tower, Leaning Tower of Pisa, etc ..., dumped incongruously and haphazardly beside each other as if China were indeed encompassing the world) juxtaposed with the general sense of alienation and rootlessness of the characters. I cannot possibly say more until I've seen the film several times. [ILLUSTRATION OMITTED] Gay (but not necessarily happy) movies The German Summer Storm (Marco Kreuzpaintner) is, quite simply, the best--most complex and intelligent--'coming out' movie I have seen. I think people (gay or straight) are weary of 'coming out' movies: we have seen so many, many of them rather weak and predictable, well intentioned but simplistic, following an increasingly familiar trajectory toward the inevitable celebration. Few people I met saw the film, which is a great pity, especially if the general lack of enthusiasm prevents widespread distribution: it's touching, tough and highly intelligent, and nothing is simple or glib. The other two gay-themed movies I saw (Almodovar's Bad Education, Araki's Mysterious Skin) address the far more specific issue of child abuse but are very different in tone and effect. Almodovar is an experienced entertainer who seldom puts a foot wrong, and Bad Education is as enjoyable as most of his work, its exposure of the malpractices of Catholic priests very much in line with what audiences want to be told nowadays. It's all done in the manner of a pseudo-noir which allows the audience a certain distance from what is potentially a very disturbing experience. I don't wish to denigrate the film, which I enjoyed, but I hope this description suggests its limitations. Beside it, the Araki appears uncouth, almost clumsy, extremely unpleasant, full of pain and rage. …
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) | 0,000 | 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 découle