Bibliographic record
Abstract
The role of the frame in determining filmic temporality has rarely been discussed. Time in the cinema emerges from diegetic, formal, and symbolic elements organized by the frame, but the prominence of montage and the movement of the filmic frame have tended to obscure the latter's importance in creating a mediated temporality. This chapter engages with Stan Douglas's photograph Ballantyne Pier, 18 June 1935 (2008) as a form of theory of filmic temporality. It then compares the role of the frame in determining the temporality of photography, painting, and film, drawing on works such as Andy Warhol's Empire (1964), Eric Baudelaire's Sugar Water (2007), and André Bazin essay on Henri-Georges Clouzot's The Picasso Mystery ( Le Mystère Picasso , 1956). Keywords: Temporality, frame, Stan Douglas, Eric Baudelaire, duration The art of Stan Douglas is strikingly cinematic. The Vancouver-based artist has found inspiration for much of his work in the world and culture of the cinema. Some of his films and videos explicitly adapt famous movies, though, as Lisa Coulthard has written, ‘Douglas's film and video installations are not remakes but pieces that modify and engage with source materials thematically and formally’. Subject to a Film: Marnie (1989), for instance, is the recreation of a scene from Hitchcock's Marnie , more precisely the looping of a scene in which the kleptomaniac character played by Tippy Hedren steals from her employer . While photographed in black and white, the sequence looks ‘updated’ on account of its modern setting. The DVD installation Suspiria (2003), on the other hand, mimics the visual style of Dario Argento's 1977 cult horror film (recently remade by Luca Guadagnino), while exploring the properties of Technicolor. Inconsolable Memories (2005) is based in part on Memorias del subdesarrollo ( Memories of Underdevelopment , 1968), the landmark Third Cinema Cuban film by Tomás Gutiérrez Alea, in its turn based on a novel by Edmundo Desnoes titled, like Douglas's work, Inconsolable Memories . A six-hour single-channel video loop projection, Luanda-Kinshasa (2013) is also inspired by a film, namely Jean-Luc Godard's Sympathy for the Devil (1968) – more precisely, its interweaving of shots of the Rolling Stones recording their hit single of the same name with seemingly unrelated clips of Black Panther militants.
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 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 | 0.002 | 0.006 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.003 | 0.010 |
| Scholarly communication | 0.006 | 0.009 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.011 | 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 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".