Entrevistas Tesis Antonio Peláez Barceló - Vídeo y Audio
Notice bibliographique
Résumé
Interviews have been present since the origin of this doctoral thesis. From two interviews with Cameron Bailey, artistic director of the Toronto Festival, and one with programmer Diana Sanchez, the idea of the importance of cultural diversity and even, within this, of linguistic diversity arose. Therefore, to this quantitative analysis, we have added a qualitative study with interviews to specialists so that the final methodology can be defined as mixed explanatory244. The transcripts of the interviews, as well as links to their recordings in video or audio format, are also available in the repository. In total we have interviewed fifteen people, who are: 1. Cameron Bailey. June 7, 2018, Cannes. Video. In person. Cameron Bailey.September 15, 2019. Toronto. Video. In person. Current CEO of TIFF, artistic director at time of interview. 2. Diana Sanchez. September 18, 2018. Toronto. Video. In person. TIFF programmer at the time of interview. 3. Luis Gasca. January 17, 2020. Spanish. Audio. Former director of the San Sebastian Festival in 1977, as well as between 1981 and 1983. 4. Enrique González Kuhn. February 2, 2020. Spanish. Madrid. Video. In person. Distributor, CEO of Caramel Films. 5. Ania Jones and Lara Pérez Camiña. May 11, 2020. Zoom. Spanish. Video. Distributors and production companies, partners of B Team. 6. David Sequera. May 22, 2020. Zoom. Spanish. Video. Journalist for the film industry publication Audiovisual 451. 7. Roberto Cueto. June 2, 2020. Zoom. Spanish. Video. Programmer of the San Sebastian Festival and university professor at the Carlos III University. 8. José Luis Rebordinos. June 11, 2020. Zoom. Spanish. Video. Director of the San Sebastian Festival. 9. Florence Guirot. October 31, 2020. French. E-mail. Festival director at FIAPF from 2017 to 2022. 10. Kay Armatage. November 1, 2021. English. Audio. By phone. Former TIFF programmer and professor at the University of Toronto. 11. Liz Czach. November 8, 2021. English. Audio. In-person. Former TIFF programmer and professor at the University of Alberta. 12. Barry Hertz. November 25, 2021. English. Audio. By phone. Culture editor-in- chief and film critic for The Globe and Mail. 13. Piers Handling. February 2022. Zoom. English. Video. Former director (1994- 2018) and former programmer (1982-1994) of TIFF. blob:https://figshare.com/1eca9dbe-f790-4a09-8e67-8c3e237d4d85<br> 244 CRESWELL, J.W., 2015. <em>A</em> <em>concise</em> <em>introduction</em> <em>to</em> <em>mixed</em> <em>methods</em> <em>research</em>. Los Angeles: SAGE. 14. Eduardo Rodríguez Marchante. February 18, 2022. Spanish. Audio. By telephone. <em>ABC</em> journalist, film critic and festival correspondent. 15. Clarisse Fabre. March 23, 2022. French. Audio. By telephone. A journalist for <em>Le</em> <em>Monde,she</em> has covered social policy and is currently a film critic and festival correspondent. In addition, we have also included statements by journalist and former TIFF programmer Jesse Wente about this festival, collected at the end of a journalistic interview on Canadian indigenous cinema. The repository also includes a link to the recording and transcript of theinterview, which was conducted via Zoom on December 6, 2022. The interview with Luis Gasca includes only some of the planned questions, as a later interview was postponed due to the pandemic and finally could not be conducted due to his death on July 6, 2021. We have contacted the press department of the Cannes Film Festival on several occasions, as well as its general delegate Thierry Frémaux, but they have declined requests for interviews with programmers or other people from the festival. All interviewees have given their consent to publish their statements. Although the interviews with Cameron Bailey and Diana Sanchez are journalistic in nature,they contain the answers to the questionnaires we prepared jointly for all the interviewees. In each interview there are specific questions for each person, but the common questionnaires, according to the functions of each one, are the following:
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) | 0,001 | 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) | 0,730 | 0,070 |
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; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».