Notice bibliographique
Résumé
This paper examines how the National Film Board of Canada (NFBC) employs interactive media to create resonance by engaging audiences with the Canadian aporetic condition—a paradox within Canada’s national identity marked by tensions between multiculturalism, environmental stewardship, and colonial history. Through innovative projects like The Space We Hold, The Orchid and the Bee, and Circa 1948, the NFBC invites viewers into immersive experiences that foster deep reflection on Canada’s social and environmental challenges, cultivating collective understanding and responsibility. The Space We Hold brings viewers into the lived experiences of marginalized and silenced communities, mainly through the narrative of survivors of wartime sexual violence. This project evokes empathy and solidarity through interactive elements that transcend cultural and geographic boundaries. It highlights Canada’s aporetic condition as a nation committed to human rights while grappling with the legacies of its own colonial and exclusionary practices, encouraging audiences to reflect on these unresolved contradictions. The Orchid and the Bee approaches the aporia from an environmental perspective, using biodiversity to illustrate the delicate interdependence between natural ecosystems and human activity. This project resonates with viewers on an ecological and ethical level, underscoring Canada’s dual role as both steward and exploiter of its natural resources. Through this digital narrative, the NFBC confronts audiences with Canada’s environmental paradox, urging a reflection on sustainable practices within a global context. Circa 1948, an interactive project set in post-war Vancouver allows users to explore two neighbourhoods—a run-down hotel district and a wartime housing project—through 3D environments and audio narratives. This project resonates by immersing audiences in Canada’s complex social history, reflecting the aporetic condition in Canada’s past. The project evokes themes of inequality, displacement, and social change, bridging historical events with contemporary conversations about urban development, social justice, and the impact of colonial structures on marginalized communities. Through this immersive exploration, Circa 1948 encourages viewers to engage with Canada’s socio-political landscape, highlighting the progress and persistent challenges within Canadian society. This paper argues that the NFBC’s approach to interactive storytelling activates resonance by making complex social and environmental issues accessible and emotionally engaging. By foregrounding the Canadian aporetic condition, NFBC projects reflect national contradictions and inspire audiences to contemplate their roles within these tensions. The NFBC’s use of digital media provides a model for how interactive storytelling can foster resilience, solidarity, and meaningful connections in response to contemporary global crises. Through these interactive experiences, the NFBC encourages public dialogue that transcends boundaries, inviting Canadian and global audiences to explore and address the issues shaping Canada’s collective future. By examining these projects, this paper highlights how resonance in interactive media can cultivate a sense of shared responsibility and action within the democratic public sphere.
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 | 0,001 |
| 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 | 0,000 |
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 ».