Bibliographic record
Abstract
Onde fica fronteira entre a ficcao e o documental? Essa e uma pergunta recorrente desde o marco inaugural do cinema documentario. Nanook, o esquimo , um classico do cinema documentario silencioso de 1922, talvez tenha sido um dos primeiros filmes a levantar, ainda que nao de forma pro-ativa, essa questao. Robert Flaherty filmou o cotidiano de uma familia de esquimos no artico canadense e, alguns anos depois do lancamento, veio a publico informacoes de que o filme apresenta uma serie de incongruencias, como o fato cabal de o protagonista nao se chamar Nanook, mas Allakariallak, e de que alguns dos rituais retratados (como a caca, por exemplo) sao obsoletos naquele povo ha muito tempo. A discussao prosseguiu ao longo dos anos, seja de forma ensaistica, como em Cronica de um verao (dir. Edgar Morin; Jean Rouch, 1960), ou, mais implicita, como no cruel Terra sem pao (dir. Luis Bunuel, 1932), e ate hilaria, como This is Spinal Tap (dir. Rob Reiner, 1984). De tempos em tempos, surgem filmes que fazem o amalgama entre ficcao e documentario das formas mais inesperadas, mas nenhuma obra nos ultimos anos trabalhou com o horror, o horror conradiano, como O ato de matar (2012). Abstract : Where is the frontier between fiction and documentary? This is a recurring question since the inaugural landmark of documentary film. Nanook, the Eskimo, a classic silent documentary filmmaker of 1922, was perhaps one of the first films to raise, if not proactively, that issue. Robert Flaherty filmed the daily life of an Eskimo family in the Canadian Arctic and, a few years after the release, information was released that the film presents a series of incongruities, such as the fact that the protagonist does not call himself Nanook, but Allakariallak, and that some of the depicted rituals (such as hunting, for example) have been obsolete in that people for a long time. The discussion continued over the years, whether in an essayistic way, as in a Chronicle of a Summer (Edgar Morin, Jean Rouch, 1960), or, more implicitly, as in the cruel Land without bread (Luis Bunuel, 1932) , and even hilarious, such as This Is Spinal Tap (directed by Rob Reiner, 1984). From time to time, films that make the amalgam between fiction and documentary of the most unexpected forms appear, but no work in the last years has worked with the horror, the conradiano horror, like The act of killing (2012).
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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 | 0.002 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.004 |
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; both teacher heads agree on what is shown here.
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".