Bibliographic record
Abstract
Everything Will Be Fine: An Interview with Fatima El-Tayeb Barbara Kosta Introduction Fatima El-Tayeb collaborated with director Angelina Maccarone in writing the script for the feature film Everything Will Be Fine (Alles wird gut, 1997), for which they received a grant from the state of SchleswigHolstein in 1996. The film has won awards at the New Festival in New York, at Toronto's Inside Out, and at the Gay and Lesbian Film Festival in Los Angeles. Alles wird gut was published in book form by the Orlanda Frauenverlag in 1999. El-Tayeb is an Afro-German scholar who earned her doctorate in History from the University of Hamburg, where she wrote her dissertation entitled "Black Germans and German Racism: Oxymoron or Repressed History: African Germans and the Discourse on 'Race,' 1900-1933." A revised version of this study, Schwarze Deutsche: Der Diskurs um "Rasse" und nationale Identität 1890-1933, has been published by Campus Verlag. El-Tayeb was the special guest at the 2001 Women in German conference in Rio Rico, Arizona. The interview was inspired by the discussion that followed the film screening there and took place via e-mail. Interview Barbara Kosta: You and Angelina Maccarone worked together to produce the script for Alles wird gut. Could you please talk about your collaboration ? How did the idea for thefilm develop? Fatima El-Tayeb: Angelina and I have been friends for a long time. While she was in the process of writing the script for her first movie Kommt Maust raus? [dir. Alexander Scherer, 1994; Is Mausi Coming Out?!], we talked a lot about it and realized that we would probably work very well together. The experience she had co-directing that first Women in German Yearbook 18 (2002) 32Interview with Fatima El-Tayeb movie was not very pleasant. Angelina was a newcomer and she was confronted full force with the power games in the film industry. The director and producer of Kommt Mausi raus? (for those who have seen Everything Will Be Fine, the character of the fish, Frau Müller, is based on the producer) went out of their way to put Angelina in "her place. " A particularly annoying aspect was that they refused to have one of the protagonists played by a black actress. They insisted that the casting of a black actress should have been made explicit in the script (of course, the script did not say anything about the character being white either). Angelina and I had talked before about writing a script together, but I think our idea to make a film with two black women in leading roles basically started then. The presence of black women on the screen is still extremely rare in mainstream films as well as in feminist/lesbian films, both in Germany and in the United States. The debates around racism in the lesbian community often resulted in the introduction of "the black character." In these cases, the protagonist is either reduced to being black, which means that blackness is used to initiate a discussion on racism, or a black person is totally "whitened," which means that she/he appears isolated in an otherwise white world with no connection to a community of color. We wanted our script to reflect the world that we actually were living in, an urban German scene that is not nearly as white as the media make it out to be. Our decision to cast two black women in leading roles had a lot to do with wanting to overcome this representation of blackness as a single and self-sufficient marker. Our initial idea was to create a situation in which two extremely different people are thrown together and these two characters would be both black and female. Originally we intended to make a road movie, because that genre provides such a good opportunity to present a relationship that evolves between people who initially do not seem to have anything in common. But then Thelma and Louise came out, and we did not want it to look like we were copying it. So instead, we decided to move in the direction of screwball comedy, which is a form of comedy...
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.007 | 0.013 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.021 | 0.008 |
| Scholarly communication | 0.004 | 0.006 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.005 | 0.012 |
| Insufficient payload (model declined to judge) | 0.008 | 0.002 |
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 source (direct Gemma or distilled Codex), 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".