Notice bibliographique
Résumé
FIVE BOOKS ON FILM AND RELIGION THE HIDDEN COD: FILM AND FAITH Edited by Mary Lea Bandy and Antonio Monda New York: Museum of Modern Art, 2003, 299 pp. PERSPECTIVES ON THE PASSION OF THE CHRIST: RELIGIOUS THINKERS AND WRITERS EXPLORE THE ISSUES RAISED BY THE CONTROVERSIAL MOVIE New York: Miramax Books, 2004, 299 pp. THE END OF THE WORLD: THE APOCALYPTIC IMAGINATION John W. Martens Winnipeg: J. Gordon Shillingford, 2003, 267 pp. FILM AS RELIGION: MYTHS, MORALS, AND RITUALS John Lyden New York: New York University Press, 2003, 287 pp. ALIEN SEX: THE BODY AND DESIRE IN CINEMA AND THEOLOGY Gerard Loughlin Oxford: Blackwell, 2004, 306 pp. CINEMA, RELIGION AND THE ROMANTIC LEGACY Paul Coates Aldershot, U.K. and Burlington, VT: Ashgate Publishing, 203, 217 pp. Movies might have displaced religion some decades ago, but religion is still there over in the corner of cinema's consciousness. Once the serrated edge of religious controversy softens, religion in cinema becomes a blur. Then about once every dozen years, some dispute flares up into hot debate. This is what happened with the advance publicity, the stormy release, and the huge commercial success of Mel Gibson's Passion of the Christ in 2004. same year, a group of Jewish and Christian religion scholars published a volume of lucidly written essays entitled Perspectives on Passion of the Christ. A year earlier, the Museum of Modern Art mounted a fifty-film program under the title The Hidden God, and accompanied it with a three-hundred-page book of essays. Meanwhile, attempts at systematic accounts of the film-religion interface by several religion scholars and theologians have appeared, and the critic and film studies professor Paul Coates has produced an idiosyncratic essay into the same terrain. Only one of the thirty-five contributors to Hidden God is a religion scholar. rest are film critics, who work out their interpretations in familiar ways, combing for allusions, motifs, images or analogies explicit or covert, and parsing them out through paraphrases. Practicing auteurists all, they fold religious ideas into what they take to be the directors' sensibilities and let the films strike whatever attitude they want toward religion. results are uneven. pick of the litter is James Quandt. He turns in one of the smartest and most skeptical pieces to be encountered on Bresson's religion. While the terrain he covers is familiar (Pascal, Jansenism, grace and fate, etc.), Quandt brings the book to a higher pitch of critical engagement than most of the other critics muster as they cycle through the pack of familiar religion-film essentials: Dreyer, Rossellini, Bergman, Pasolini, Ozu, Fellini, Bunuel, Kurosawa. Less predictable and newer topics begin with Truffaut's Green Room (a missed chance by Joshua Siegel); Babette's Feast (a suggestive and spot-on paraphrase by Mary Lea Bandy); Decalogue 1-10 (a hapless effort by Mario Sesti); Magnolia (Richard Pena's suggestive but truncated guessing), Groundhog Day and Unforgiven (unconvincing readings by Sesti again-he is the palooka of the bunch); Wicker Man (Mikita Brottman casting an appreciative eye at British cult-film pagans); Bad Lieutenant (Kent Jones' brave try but a little too staid a swing at Ferrara's dementedly penitential film). Some essays are singularly valuable. David Sterritt and Mikita Brottmans gather up sharp observations on L'Humanite and bring Dumont's often-mentioned relations with Bresson into clear focus. Stuart Klawans's essay on Andre Rublev discloses Tarkovsky's displaced religious autobiography and opens the realm of Tarkovskian theological genealogy to inspection. Its soul companion is P. Adam Sitney's essay on Nostalghia, in which he sees the by-then emigre filmmaker staking out his position relative to European cinema, most pointedly to Bergman and Antonioni. Other essays offer surprises, including two on Spielberg. …
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 | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,003 | 0,003 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,006 | 0,004 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,002 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,162 | 0,043 |
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 ».