Notice bibliographique
Résumé
Distributed by Grasshopper Film, 12 East 32nd St., 4th Floor, New York, NY 10016Produced by Andrew Carlberg, Jordan Matthew Horowitz, Julianna Margulies, Sarah Silverman, Amy Zvi, Jennifer Morrison, Gerardo Celasco, and Harlan WaksalDirected by Jordan Matthew Horowitz2023, Streaming, 20 mins A touching story of the power of friendship, hope, and determination is exemplified by two long lost friends who found each other during the impossible. The film Jack and Sam tells the story of Jack Waksal and Sam Ron, who met in the most brutal of circumstances and found each other again almost 80 years later. We hear from both men about their experiences as Holocaust survivors brought to life by archival footage, photos, and animation. The film begins with archival footage as we hear Jack and Sam discuss what life was like in their Polish hometowns before and after the Germans arrived during World War II. A fun childhood was immediately turned on its head for both men as they were forced into ghettos and labor camps where they worked to live. Everyday scenes encountered by the two men during their captivity are described and supported by archival footage of ghettos, camps, and forced labor. This film does not shy away from the difficult images produced by such atrocities. Though the subject matter is heavy, the quality of the footage is quite clear, considering its age. If there was a digitization and remastering project performed, it seems to have been done well. This aspect leads to a more visceral reaction while digesting the images and listening to the subjects’ narratives. The inclusion of this footage is also important in displaying the devastation and inhumanity that our subjects, and many others, were forced to endure. A description of forced transportation in cattle cars is represented by artistic greyscale animation that looks as if the scenes are sketches; you can see pencil marks and cross-hatching on the individuals. This artistic choice also gives the people a haggard, down-beaten quality, which in reality is probably what they were. Other scenes are also depicted by animation which can help keep the audience’s attention, especially that of students. Additionally, this choice of representation also allows a bit of relief from the harsh archival footage but still appropriately translates the truth of the situation. The film does an excellent job of seamlessly integrating the animation with the interviews of Jack and Sam and the archival footage. The Pionki camp is where Jack and Sam worked together for eight or nine months until Jack escaped into the forest. Sam stayed behind in the camp but was liberated in May 1945, while Jack spent over six months hiding in the forest until the Russians arrived. Their unbelievable reunion took place at an event by the United States Holocaust Memorial Museum almost 80 years later. In whatever time the two have left, they are determined to continue to thrive and enjoy their renewed friendship. It can be considered a miracle that these two individuals could endure such inhumane circumstances at the hands of fellow human beings yet proclaim that hate has no place in the world. This is part of their message when they speak to school students about their story. Their urgency to continue to talk about their experiences in an effort to ensure their stories, like that of so many others, stay alive is inspiring. However, not every survivor of the Holocaust has been able to be so open about their experiences. This film can be an important learning tool to portray how some survivors are able to use the time they have left. Jack and Sam never stopped dreaming, and their story is a true reminder of what the human spirit is capable of, even in the darkest of times. I do wish their story was portrayed in a longer format that slowed the content down, so viewers could get to know their family and childhood in more detail for added context. Learning about their childhood in more detail before the Germans arrived in their towns and during their occupation could have added a more intimate quality to the film, allowing the audience to form a deeper connection with the subjects. Despite the short run time, I highly recommend this film for upper-level high school through college. Additionally, the short run time could be beneficial for a high school class format considering their limited time compared to that of college courses. This documentary is in English with English subtitles. Awards:Winner, Best Documentary Short, Phoenix Film Festival; Winner, Best Documentary Short Film, Sulmona International Film Festival; Winner, Audience Award - Best Doc Short, Calgary International Film Festival; Winner, Best American Indie Short, Fort Lauderdale International Film Festival; Winner, Best Documentary Short Film, Port Townsend Film Festival
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 | 0,002 | 0,005 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,017 | 0,002 |
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 ».