Bibliographic record
Abstract
This is a film review of Jamie Marks is Dead (2014), directed by Carter Smith. Author Notes Jodi McDavid is an instructor in Folklore and Gender & Women’s Studies at Cape Breton University. She earned her BA at St. Thomas University (New Brunswick) and her MA and PhD from Memorial University of Newfoundland. Her PhD dissertation was on anticlericalism in folk and popular culture. Her current research interests include vernacular religion, the folklore and folklife of children and adolescents, and gender and women’s studies. This sundance film festival review is available in Journal of Religion & Film: http://digitalcommons.unomaha.edu/jrf/vol18/iss1/26 Jamie Marks is Dead (2014) (Directed by Carter Smith) US Dramatic Who killed Jamie? This is the superficial question. But does the death of an adolescent do to those it leaves behind? and, How do teenagers explore death and the afterlife? are the more complex questions explored in Jamie Marks is Dead. Jamie's body is found, and no one knows how he died. What follows is a self-examination by his schoolmate Adam, as he reflects on Jamie's short life, and his own mortality. Jamie was a high school boy who clearly was bullied. It's possible his family was devoutly Christian, we learn he wore a Boy Scout uniform to school frequently, and that his mother had a year round nativity scene on display. Adam wonders what he could have done differently, and clearly feels guilty about Jamie's death, so when Jamie approaches him from beyond the grave, he feels compelled to help. It's not immediately clear what Jamie wants. He seems to thrive on the attention he receives from Adam. Undoubtedly, other reviewers 1 McDavid: Jamie Marks is Dead Published by DigitalCommons@UNO, 2014 will draw out some homoerotic tensions between the two characters, however, there's more to it than that; fraternal love is what Jamie craves. The construction of masculinity is clearly a focus in the film, from locker room bullying, to Adam and his brother who are taking different paths as they embrace their maleness. This film explores a touching relationship that develops between Adam and Jamie, something that they could not have in life. Jamie needs help negotiating his next steps, and through this Adam also explores his attitudes towards mortality, murder, suicide and sexuality.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".