Bibliographic record
Abstract
FIVE BOOKS ON FILM AND RELIGION THE HIDDEN COD: FILM AND FAITH Edited by Mary Lea Bandy and Antonio Monda New York: Museum of Modern Art, 2003, 299 pp. PERSPECTIVES ON THE PASSION OF THE CHRIST: RELIGIOUS THINKERS AND WRITERS EXPLORE THE ISSUES RAISED BY THE CONTROVERSIAL MOVIE New York: Miramax Books, 2004, 299 pp. THE END OF THE WORLD: THE APOCALYPTIC IMAGINATION John W. Martens Winnipeg: J. Gordon Shillingford, 2003, 267 pp. FILM AS RELIGION: MYTHS, MORALS, AND RITUALS John Lyden New York: New York University Press, 2003, 287 pp. ALIEN SEX: THE BODY AND DESIRE IN CINEMA AND THEOLOGY Gerard Loughlin Oxford: Blackwell, 2004, 306 pp. CINEMA, RELIGION AND THE ROMANTIC LEGACY Paul Coates Aldershot, U.K. and Burlington, VT: Ashgate Publishing, 203, 217 pp. Movies might have displaced religion some decades ago, but religion is still there over in the corner of cinema's consciousness. Once the serrated edge of religious controversy softens, religion in cinema becomes a blur. Then about once every dozen years, some dispute flares up into hot debate. This is what happened with the advance publicity, the stormy release, and the huge commercial success of Mel Gibson's Passion of the Christ in 2004. same year, a group of Jewish and Christian religion scholars published a volume of lucidly written essays entitled Perspectives on Passion of the Christ. A year earlier, the Museum of Modern Art mounted a fifty-film program under the title The Hidden God, and accompanied it with a three-hundred-page book of essays. Meanwhile, attempts at systematic accounts of the film-religion interface by several religion scholars and theologians have appeared, and the critic and film studies professor Paul Coates has produced an idiosyncratic essay into the same terrain. Only one of the thirty-five contributors to Hidden God is a religion scholar. rest are film critics, who work out their interpretations in familiar ways, combing for allusions, motifs, images or analogies explicit or covert, and parsing them out through paraphrases. Practicing auteurists all, they fold religious ideas into what they take to be the directors' sensibilities and let the films strike whatever attitude they want toward religion. results are uneven. pick of the litter is James Quandt. He turns in one of the smartest and most skeptical pieces to be encountered on Bresson's religion. While the terrain he covers is familiar (Pascal, Jansenism, grace and fate, etc.), Quandt brings the book to a higher pitch of critical engagement than most of the other critics muster as they cycle through the pack of familiar religion-film essentials: Dreyer, Rossellini, Bergman, Pasolini, Ozu, Fellini, Bunuel, Kurosawa. Less predictable and newer topics begin with Truffaut's Green Room (a missed chance by Joshua Siegel); Babette's Feast (a suggestive and spot-on paraphrase by Mary Lea Bandy); Decalogue 1-10 (a hapless effort by Mario Sesti); Magnolia (Richard Pena's suggestive but truncated guessing), Groundhog Day and Unforgiven (unconvincing readings by Sesti again-he is the palooka of the bunch); Wicker Man (Mikita Brottman casting an appreciative eye at British cult-film pagans); Bad Lieutenant (Kent Jones' brave try but a little too staid a swing at Ferrara's dementedly penitential film). Some essays are singularly valuable. David Sterritt and Mikita Brottmans gather up sharp observations on L'Humanite and bring Dumont's often-mentioned relations with Bresson into clear focus. Stuart Klawans's essay on Andre Rublev discloses Tarkovsky's displaced religious autobiography and opens the realm of Tarkovskian theological genealogy to inspection. Its soul companion is P. Adam Sitney's essay on Nostalghia, in which he sees the by-then emigre filmmaker staking out his position relative to European cinema, most pointedly to Bergman and Antonioni. Other essays offer surprises, including two on Spielberg. …
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.003 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.162 | 0.043 |
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".