Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
first time that I heard about Pacific New Waxe was at Vancouver International Film Festival in 1999. Then Canadian Images Programmer, Ken Anderlini, had been asked about this west coast filmmaking movement ay Cori Howard of National Post. With unprecedented six BC fiction features in Canadian Images program, it seemed possible that we were witnessing beginnings of something comparable that earlier moment in Ontario when a lea, group of filmmakers focussed attention on Canadian cinema. (1) Anderlini proceeded write a short article for festival newsletter assessing whether or not there be a Coast Nouvelle Vague. But, faced with a diverse group of films that includes Mort Ransen's glossy Touched (1999), Scott Smith's gritty rollercoaster (1999) and Ryan Bonder's magical DayDrift (1999), he concludes that notion of a wave might be stretching it, but [that] these films do prove that BC is more that just a Hollywood back lot. (2) only clear connection he cites is films share emotional intensity and integrity. (3) At 2000 festival, number of BC fiction features rose eight, including five debuts. In introductory essay for Canadian Images section, Pacific New Wave reference is re-deployed with suggestion that films honestly explore our West Coast culture. (4) Meanwhile, in a Georgia Straight cover story, local film critic Ken Eisner notes that four of debut features--Protection (2000), Middlemen (2000), We All Fall Down (1999) and No More Monkeys Jumpin' on Bed (2000)--share an uncommon grit, not mention rampant dysfunction and drug use ... all in a doggedly naturalistic style and with remarkably similar settings. (5) Linking films Canada's longstanding documentary tradition, Eisner describes wave in terms of new realism and explains that each of these first-timers indicated that more money and market concerns wouldn't have too much bearing on their styles, which all aim, with varying techniques, for purity of experience. (6) Finally, term Pacific New Wave gained headline status in fall of 2001 with Mark Peranson's Globe and Mail feature on Bruce Sweeney's Last Wedding (2001). According Peranson, inclusion of five BC films in 2001 Toronto International Film Festival along with selection of Last Wedding first BC film ever open this trendsetting event suggests that talk of a west coast wave may in fact have some basis in reality. (7) In particular, he argues that to match flowering of filmmakers in Ontario in 1980's ... A-list (8) directors like Sweeney will begin emerge from West. So, if moment is indeed taking root, perhaps it is a good time ask what Pacific New Wave means. This term has tended be applied by those who, despite their links BC film community, are relative outsiders, while within community, label has been greeted with great skepticism. first reference a Pacific New Wave can be found in Cori Howard's article The Irony of Anti-blockbuster, which appeared in August 7, 1999 issue of National Post. Howard's discussion focuses on Canada's first two Dogme films: Set in abandoned Vancouver shipyard, Marc Retailleau's feature debut Noroc (good luck) is a largely autobiographical tale about a Romanian immigrant's struggle survive in Canada, while Carl Bessai's Johnny follows a group of disaffected squeegee kids living on streets of Toronto. (9) Both films attempt conform ten tenets of Lars von Trier and Thomas Vinterberg's 1995 Dogme Vow of Chastity with varying degrees of success. Noroc's co-producer and cinematographer James Tocher explains that If you follow rules and don't see joke, you've missed point. We didn't feel rules were meant be taken literally. (10) Re-dubbing it as vow of fertility, Tocher states that the Dogme philosophy helps remind filmmakers what's necessary and unnecessary. …
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.
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 | 0,001 | 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) | 0,001 | 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 découle