Bibliographic record
Abstract
Even if the most famous European international film festival is definitely Cannes Film Festival, and if there are many international film festivals in Europe, there is only one International Film Festival in Eastern Europe, and it is FEST, in Serbia. FEST, International Film Festival in Belgrade, has a 31-years-old tradition. In the words of Mr. Goran Paskaljevic, Chairman of the FEST 2003 board, established Serbian film director: We will do our best to explain to our guests that FEST has prevailed, despite tragedy and war, amid disasters and defeats, because its spirit is best summed up by its continued stance against xenophobia and isolation. This Festival is truly a where the best in local and international cinema meet, it has been said, in a spirit of spiritual communication. During its 30 years, this festival hosted some of the most famous participants in the cinema business. As a cultural event, FEST is meant to give Belgrade and Serbia a more prominent position in today's artistic world. the time when FEST was created, it was planned to be a festival designed for communication, a well-constructed intersection of ideas and experiences, a planned encounter with international film productions, a programmed space in which useful and productive coincidences would take place [Mr. Dushan Makavejev]. [ILLUSTRATION OMITTED] It is no surprise then, that ex and present Yugoslavia are a perfect for an international film gathering on an outstanding level. At first, FEST was created to give a new political and artistic definition to the Serbian cinema industry. So far the festival has hosted celebrities such as: Roman Polanski, Victoria de Sike, Kirk Douglas, Milos Forman, Gina Lollobrigida, Jack Nicholson, Robert De Niro, Irma Flis, David Puttnam, Jim Jarmusch, Johnny Depp, Beatrice Dalle, Andrew Birkin, A. Goth, Hugo Weaving, and Catherine Deneuve. FEST 2003 featured 95 films from 40 countries. It comprised 12 films from the main program of the Berlin Film Festival. 2003 brought Ken Russell as FEST's honored guest. He received the prestigious Yugoslavian Zlatni Pechat Award for his contribution to the field with such films as Women in Love (1969) with Glenda Jackson, Alan Bates, and Oliver Reed, Music Lovers (1970,) Savage Messiah (1972,) and, of course, Tommy (1974.) 2003 edition of FEST will be remembered for the visit of world famous French singer, and actor, Charles Aznavour, another honored guest of this year's festival. festival opened with Quiet American by Philip Noyce, and closed with the exceptional new Serbian film, Bare Ground, by Ljubisha Samarchic. Jury of the Film Critics and Journalists chose the German film Goodbye Lenin by Wolfgang Becker as the best film of FEST 2003. On the second day of his stay in Belgrade, Charles Aznavour received the 17th Yugoslavian Cinema Zlatni Pechat Award for his lifetime achievements in cinema. Aznavour was invited to FEST for his role in the Canadian film Ararat directed by Atom Egoyan. This film is about the genocide perpetrated by the Turkish Army over Christian Armenians, on the territory of Russia. It is the tragic tale about the holocaust of million and half Armenians in the Ararat province, that tortured and slaughtered between 1915 and 1917. For the director of the film, just as for the Mr. Aznavour, this film has a deep personal meaning. This film is about historical facts and the lies that have been created for political reasons. It is combination of the past and the present story of Ann, a university professor of art history. Her son was sent to the province of Ararat to collect actual pictures and shoots of the countryside, the where the genocide happened, so that a film can be made. About his participation in the film, Charles Aznavour declared: The theme of the film is very close to me and to director of the film. For the first time in my life, I've been communicating with a film director in my own native language. …
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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 | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.001 |
| Scholarly communication | 0.004 | 0.001 |
| Open science | 0.001 | 0.001 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.041 | 0.009 |
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".