Bibliographic record
Abstract
cinéma tel qu’il se pratique aux Etats-Unis. Ainsi Tavernier avoue-t-il bien souvent sa préférence pour les techniciens français, plus créatifs et moins formatés à ses yeux. Il ne manque pas non plus de regretter la pesanteur du système hollywoodien, due à la mainmise des syndicats et à la frilosité des producteurs: inutiles répétitions avec doublures imposées, horaires très rigides, multiplication des prises sans réelle nécessité. De ces observations naissent toutefois quelques passages cocasses. Ainsi la venue de Californie (aux frais de la production) d’un inspecteur de la protection des animaux qui assure le bien-être de crabes pendant une prise. Le tout dans un Etat de Louisiane où le décapode finit irrémédiablement dans les assiettes… Malgré les tensions et frustrations qu’il relate, Tavernier se montre toujours élégant et rend systématiquement hommage à ses collaborateurs, parfois par le biais de paragraphes rétrospectifs qui interrompent et commentent le récit diaristique. Il y reconnaît de la sorte ses erreurs, donne raison à ceux auxquels il s’est opposé par crispation. Sa relation avec Tommy Lee Jones semble à cet égard des plus déroutantes. Si le comportement de l’acteur sur le tournage manqua apparemment de chaleur, son talent de dialoguiste lors de l’écriture du scénario ainsi que sa précision et son professionnalisme d’acteur n’ont cesse d’étonner Tavernier (de même que l’éthylisme quasi-permanent de John Goodman). On l’aura compris, le livre de Bertrand Tavernier est traversé d’états d’âme, fidèle au ton tantôt nostalgique, tantôt drôle et passionné de son auteur. Il est surtout marqué par la cinéphilie communicative de Tavernier qui toujours nous renvoie aux films qui n’en finissent jamais de le bercer. La fraîcheur qui se dégage de ce récit d’expatrié temporaire en fait un ouvrage des plus agréables qui résonnera particulièrement chez ceux qui travaillent dans un monde qui les attire sans être tout à fait le leur. University of Pennsylvania François Massonnat Seattle Sightings: The Seattle International Film Festival, 2010. France, Québec, and Belgium all contributed strong works to SIFF’s 2010 extensive program. Many of the Francophone works bore Césars, Jutras, Génies, and prizes from Category A festivals such as Cannes and Karlovy Vary. The selection was varied—feature length fiction and documentary to shorts, animated, mid-nighter, archival. The screening of Jean Renoir’s 1951 The River, newly restored by the Academy Film Archive, offered a special delight. All that unites parents and children, all that disconnects them—several films offered provocative stories from this rich thematic vein. Belgian Frédéric Dumont’s debut feature, Un Ange à la mer, opens with a child’s whisper, “Ange plein de gaité, connaissez-vous l’angoisse?” Drawing on a Baudelaire poem, Ange depicts a child’s experience of his beloved father’s slide into manic depression . Dreamlike images of drowning and enclosure, accentuated by a striking chiaroscuro that sets the brilliant sun of Morocco against the dark interior of the parent’s office, convincingly suggest the child’s desperate confusion and eventual loss of innocence. An audience can grapple with the father’s violent behavior and manipulation for what they are; tragically, the child cannot. This story of an angel who falls overboard is profoundly moving. Martin Nissen as the Reviews 831 boy merits high praise, and Olivier Gourmet as the father delivers yet another soul-searing performance. Julie Lopes-Curval’s third feature, Mères et filles (Hidden Diaries), examines the interplay of strictures and freedoms, myth and reality in three generations of French women. The youngest, Audrey—thirtyish, pregnant, successful career in Canada—weighs abortion, single parenthood, or marriage to a man she likes but does not love. The oldest, grandmother Louise, figures only in her granddaughter ’s imagination. Louise abandoned her young family in the 1950s, mysteriously disappearing but leaving behind a diary/cookbook, fallen unnoticed behind a kitchen cabinet. Linking these generations is Martine, married, a successful physician whose father’s presence has held her at home...
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.002 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.001 |
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".