Notice bibliographique
Résumé
Resume : L'histoire des etudes cinematographiques considerees en tant que discipline n'a recue que tout recemment l'attention des chercheurs. Dans un effort pour initier l'assemblage des histoires de cette discipline, cette table ronde regroupe des personnes qui furent importantes pour la fondation de programmes d'etudes au Quebec et en Ontario : Kay Armatage, Andre Gaudreault, John Locke, Peter Morris, and Maurice Yacowar. Les premiers developpements discutes incluent la cinephilie, les societes de film et les cinemas de repertoire, l'enseignement du cinema dans les departements comme ceux d'anglais, d'etudes feministes, de communication et de Beaux-Arts, les technologies comme le projecteur analytique et la video, le nationalisme ou l'internationalisme et les publications influentes. Roundtable hosted by Advanced Research Team on the History and Epistemology of Moving Images Studies (ARTHEMIS) and the Film Studies Association of Canada (FSAC), June 4th 2010, at Concordia University Participants: Kay Armatage (University of Toronto) Andre Gaudreault (Universite de Montreal) [Translation: Timothy Barnard] John Locke (Concordia University) Peter Morris (York University) Haidee Wasson (Concordia University) Maurice Yacowar (University of Calgary) Michael Zryd (York University) HAIDEE WASSON and MICHAEL ZRYD What do we know- and not know- about Canadian film studies? We know that, in general, film studies has always been in dialogue with other fields. Yet, mapping interdisciplinary links is complicated. In the context of the Canadian university, we can observe that the study of cinema happens in different departments (Cinema, English, Communications), across different faculties (Arts and Science, Humanities, Fine Arts) and with differing emphases (production, art, aesthetics, cultural studies, public policy) . To be sure, Canadian film studies has been inflected by debates about Canadian nationalism. The late 1960s and early 1970s, when film courses began to be taught and the first Canadian film programs founded, was a time when the Canadian centenary in 1967 was in full bloom and intense opposition to American imperialism was evident across a wide range of cultural and political activities. It's not surprising that Canadian film studies concentrated on, and celebrated, Canadian film. Indeed, at one extreme, Canadian film studies has been defined by the study of specifically Canadian film. This nationalism manifests in a tension palpable at past meetings of the FSAC: Is it a scholarly association for people who study Canadian film or a scholarly association for people who study film in Canada? Parallel tensions manifest at the level of scholarly training and disciplinary formation. Most faculty members working in Canada who received a doctoral degree in film studies, received this degree from somewhere outside of Canada (usually the US or the UK). For those trained in Canada, degrees have been granted by interdisciplinary programs like York's Social and Political Thought program or McGill's Art History and Communication program, to name two prominent examples. That is, we have either been trained internationally or interdisciplinarily - or both. Another observation to be made about Canadian film studies is the gulf between scholarship in English-Canada and Quebec, a linguistic, cultural but also methodological gulf stemming from different scholarly traditions. These tensions have not been prominent in published histories addressing the history of film studies in other national contexts. We do know that studying films at universities from the 1920s through the 1940s was characterized by many, but generally isolated, sites of educational activity. Films were screened for educational purposes in film societies, cine clubs, art museums, and women's organizations but also in University-based departments as diverse as psychology, geography, business, foreign language, and drama throughout the U. …
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 | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 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 | 0,000 |
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 ».