Notice bibliographique
Résumé
When it comes to visual representation in documentary film, the seemingly distant societies and nations of Pakistan and Colombia become siblings, sharing the features that have been assigned to them in the realm of the imaginaries created by hegemonic media and film. Both Colombia and Pakistan have been depicted as forbidden territories, societies in conflict and dysfunctional nations, as well as places of indigenous magical wisdom, exotic primitive music and a poor but noble population. The west, in the form of foreign filmmakers, has embraced these reductive representations as a lingua franca, the same language with a vocabulary of euphemisms such as Third Worlds or Developing Nations, used frequently in order to portray what does not align with principles affiliated with eurocentrism, capitalism and Christianity. As a result, there is a wide arrangement of documentary films about the two countries made by foreigners speaking a unified language of otherisms. We, the Pakistani and the Colombian authors of this text, know it, just as any other Colombian or Pakistani also would. We also know it as Colombian and Pakistani documentary filmmakers and film researchers. As a Pakistani or Colombian documentary filmmaker, how do you become a part of an international film market that would potentially require you to relate to a series of depictions that more often than not get translated into political debate? That is the agglutinating topic that we explored with documentary filmmakers from our nations in the form of conversations about their films, about what the international market expects from them, about the role of the international film development funds, the participation in international film festivals and film markets, and what they expect from themselves as filmmakers in this environment. The answers provided show that all documentary filmmakers have ruminated on these dilemmas, they have faced both episodes of combat and episodes of resignation, revealing a duality that manifests individually and collectively, confronting the documentary filmmaker as the director in a career-building path, with the documentary filmmaker as the autonomous creative critic of the hegemonic film language. This article is conceived as a case study presenting the first results of this research, which has facilitated a communal reflection, an opportunity to unify the concerns of filmmakers from locations and societies that have had a specific representation in cinema and media, in this case Pakistan and Colombia, who end up speaking to each other from the same level and speaking to other communities in similar situations. In addition, the individual experiences of the documentary filmmakers have answered the seldom formulated question of how we - non-western documentary filmmakers - conceive the international film market, a space that mistakenly has had the tendency to regard itself as a neutral. This research features documentary filmmakers Aseneth Suarez Ruiz, Mohammed Ali Naqvi, Mauricio Acosta, Haya Fatima Iqbal, Viviana Gómez Echeverri, Ammar Aziz, Jenni Kivistö & Jussi Rastas, Saad Khan, Clare Weiskopf & Nicolas van Hemelryck, Jamil Alvi and Federico Atehortúa.
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 | 0,000 | 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 | 0,001 | 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) | 0,008 | 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 ».