Notice bibliographique
Résumé
Out-of-synch audio, incongruous lines of sight and awkward match-on-action editing undermine the structuring melodramatic narrative of Guy Maddin's cinema. Dialogue is rerecorded in every picture, Vaseline is smeared on the camera lens for distortion, and Maddin regularly utilizes-or replicates the effect of-Super 8 and two-strip Technicolor film stock. At once imbuing a singular emotional sincerity and narrative propulsion in his films, Maddin freely appropriates iconic images and plot devices of classic cinema, parading their dated sexual politics and social mores. Maddin constructs a film history canon uniquely his own, cut and pasted from the exemplar films of German Expressionism, Russian Constructivism, early American melodrama, and the avant-garde. In his 1992 picture Careful1 the result is a self-conscious amalgamation of incomplete early cinema references, self-conscious Freudian symbolism, and postmodern irony that implicates our cognitive experience of cinematic illusion in its revisionist critique. Maddin began making films in the late 1980s, but none of his narratives take place after 1930. While utilizing actual events as points of departure, such as the smallpox epidemic of 1900 in the Icelandic community of Gimli, Manitoba (Tales from the Gimli Hospital),2 or the post-World War One collective amnesia of Archangel, Russia (Archangel)? Maddin manipulates the conventions of naturalist-realist narrative development and abandons accurate documentation of the historical event for a playful dissection of audiences' suspension of belief. In recent works, Maddin's application of digital technology heightens the immersive qualities of his worlds while continually reminding the viewer of its artificiality, of his directorial hand. Maddin states, I want [the audience] to be aware they're watching a movie, I'm not trying to hide that fact ... Everything is artificial in the world of ... film and melodrama.4 He does not simply acknowledge but fully celebrates their artifice, disrupting nearly every established tool used to garner investment in the naturalist-realist, melodramatic, and romantic structures of his inspirations. Maddin fills in the gaps of his incomplete recollection with referents outside of history, creating a nostalgia for a past that does not exist. Using contemporary tinting processes, digital video, and nonlinear editing in combination with 35mm, 16mm, and Super 8 film formats, he remakes a past borne by the future. Maddin simultaneously builds a baroque diegesis and dismantles it through incomplete revisionist homage, infusing a Freudian narrative vocabulary with contrived historical hyperreality. He effectively occupies multiple levels of what Jean Baudrillard calls the precession of simulacra, mirroring a subjective and fractional film canon, while conflating the illusion inherent of all cinema. In Simulacra and Simulation, Baudrillard writes, Illusion is no longer possible, because the real is no longer possible ... All ... energy of representation [has] vanished in a hallucinatory resemblance ... of the real to itself.5 History and illusion implode. Reality is signified only by perverse simulation. Maddin extrapolates the hyperreal echo chamber into an allinclusive project in which every vestige of its signification points to its unraveling, on every level of representation. Careful was Maddin's first color film. In it we are introduced to Tolzbad, a fictitious 19th-century Alpine town where oedipal drives and sibling rivalry plague the inhabitants, compounded by perpetual fear of impending avalanches. seemingly dazed by the over-saturation of their own images, they stumble through a world of both baroque artifice and the strictest code of whispered repression and self-restraint. At home in their fabricated surroundings and utterly out of time and place, they are lost in mismatched thoughts and desires. The deadpan reading by the actors, Maddin's wooden script, the contrived sets, and dustaccented soundtrack, create an ironic distance between the viewer and the film. …
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 | 0,001 | 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 | 0,000 | 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 ».