Bibliographic record
Abstract
The Legend of Longwood, situated in the realm of family adventure film, is one of a number of recent Irish films, including Pursuit (2015) and Song of the Sea (2014) to feature the use of myth prominently. The film follows twelve year old Mickey Miller, her mother, and younger brother as they move from New York to the fictional Irish village of Longwood after inheriting a home there. Mickey's arrival coincides with the return of the legendary Black Knight. Once a prominent and kind man living in the Dumonceau castle, after his baby daughter was kidnapped he became angry and bitter, working the villagers too hard and starving them in a manner reminiscent of Famine Era Ireland. On the night of a tragic fire that killed seven village children, the mysteriously disappeared and was believed dead. Since then, the village has been cursed by the Black who continues his search for his daughter. While the employment of the myth in this film will satisfy the film's younger viewers (and intended audience) with its fantastical elements, it raises different points for older viewers with economically-driven subplots, performative undertones, and questions of identity. Unlike the established Irish mythology used in Song of the Sea or Pursuit, the mythical story in The Legend of Longwood originated in the Netherlands, with the screenplay by Nadadja Kemper, and was then rewritten by director Lisa Mulcahy (Red Rock, The Clinic) for the Irish setting. This hybridisation speaks to the film's international co-production and financing: Grand Pictures (Ireland), Holland Harbour (the Netherlands), and Longwood Pictures (Germany), produced the film and it was funded by the Irish Film Board, the Dutch Film Fund, Premiere Pictures, and the German Federal Film Fund. This mixture of funding, the fact that the film was shot primarily in Wicklow and Dublin, and the plot which centres on an American heroine, all bear influence on the film and are reflected in its distribution to date. After premiering in July 2014 at the 44th Giffoni Film Festival in Italy, The Legend of Longwood continued to play on the Festival circuit in Europe and, in 2015, was released on DVD in the US and Canada, and theatrically in Germany, Ireland and the UK. The clear links between the film's funding, casting, narrative and the locations of its distribution, speak to the ways in which economic factors play a large role in how films are constructed. The topic of economic incentive also features prominently within this film, and is critiqued. The employment of myth in The Legend of Longwood acts, in two separate ways, to place Ireland in an international context. The first of these focuse on money and the second on identity. Early on in the film we are introduced to the commodification of Longwood, and its myth, in the village library. Here, we see a poster advertising the sights of Longwood as well as a rack of postcards for sale. As the librarian discusses having seen the Black recently, the Mayor picks up a postcard featuring the Knight, highlighting the degree to which the legend has become a product. This postcard sparks an idea for further revenue, and the Mayor schemes up a way to draw more visitors to the village. He enlists the help of a newspaperman to perform the myth and then write an article on it. After the Knight makes an appearance at the village's very public inaugural car rally and word spreads, the Mayor hopes that the intrigue of the legend will put the village on the map. Though he does not believe in the legend himself, the Mayor is more than happy to sell a performance of it. While hatching the plan, he says: There is no Black Knight. But then, the tourists don't know that.This statement, overtly referencing tourists (and how to fool them), brings to mind Ireland's own strong economic links with tourism. A recently published report by Failte Ireland detailing overseas tourism to Ireland in 2014, notes an overall growth of 6%, bringing in 7. …
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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 | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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".