Notice bibliographique
Résumé
Distributed by New Day Films, 350 North Water Street Unit 1-12, Newburgh, NY 12550; 888-367-9154Produced by Alison MountzDirected by Lisa Molomot2020, Streaming, 80 mins Safe Haven personalizes experiences of military draft resisters and anti-war objectors who flee the United States for Canada. It illustrates cases of Vietnam War and Iraq War era quests by one subset of Americans we come to know quite well throughout the film, as they recount seeking refuge in the nation to the north. A strong collection of first-person testimonials is the heart and soul here, as each resister speaks at a human level about their struggles and biographies. Particularly effective are the comparisons, some unspoken, between anti-Vietnam War and anti-Iraq War postures, when government policies shift in recent times toward a more constraining reality for that type of cross-border migration. While valuable data is shared on the wars and depictions of resistance efforts are featured, such as the Canadian War Resisters Support Campaign and Iraq Veterans Against the War, the film is not an intellectual probe into anti-war philosophies or related organizational tactics or campaigns. What is well portrayed instead, are life experiences of these specific persons who have fled the U.S. for Canada. Director Molomot has previously demonstrated a talent for introducing human struggles at crossing borders in the face of steep odds in Missing in Brooks County, her film covering migrant deaths at the U.S.–Mexican border. Outcomes in Safe Haven may be less immediately deadly but no less life changing. Themes cutting across the time periods described in Safe Haven include the variety of official lies told to citizens and societies as catalysts behind war efforts, and examples spanning generations of the resilience for those persons caught between two countries. The anti-Vietnam War resisters we see who end up serving in positions of elected or judicial office within Canada is impressive. Prison times does befall some others that we encounter in the film. On a cinematographic level, Safe Haven may slightly overuse its confessional shooting style as we meet the resisters. That is only a rare hurdle, and perhaps a few further visualizations might have lessened what may strike some viewers as overuse of talking heads who directly address the camera. Perhaps more images associated with behaviors and surroundings of resisters deserved a tiny bit more screen time, because so much of this tale the resisters share is about behavior and not analysis. The strength of what we do learn from the resisters in these reflections results in a film about war resistance where the statements embody more or less anything except strident anti-war screeds. This itself may be a chief strength in assisting the film’s quite effective demystification of the many contradictions looming when governments turn citizens into soldiers. Safe Haven is recommended as a valuable resource for those exploring U.S. - Canadian relations and also for students and scholars of human migration. It is a solid addition to the study of U.S. war resisters generally and of the Vietnam and Iraq War experiences of the United States more specifically. The film may be of added special interest to individuals or agencies who serve persons recovering from any number of traumatic war related experiences, military veterans and resisters alike. Awards:Best Documentary, Central Alberta Film Festival (2020)
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 | 0,003 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,018 | 0,025 |
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 ».