Francophone Cultures through Film by Nabil Boudraa, Cécile Accilien
Bibliographic record
Abstract
Reviews 293 filles Marie au moment du baptême” (xix). To avoid any confusion, Morrissette explains that“les prénoms Marie et Joseph ne font pas partie du prénom au quotidien. Ainsi, depuis ma naissance, on m’appelle simplement Vincent”(xx). In a similar manner , Blood explains her family’s background and how despite her grandmother Bernadette Plouffe’s decision to stay in New York to marry an American Anglophone, her family maintained tight connections with its Francophone family in Saint-Félixde -Valois, a small town to the east of Montreal. Canisius College (NY) Eileen M. Angelini Boudraa,Nabil,and Cécile Accilien. Francophone Cultures through Film. Newburyport : Focus, 2014. ISBN 978-1-58510-311-9. Pp. 237. $33. In a time where programs are looking to continue to diversify course offerings to increase intercultural competency among students, to treat the idea of texts in a broader way, and to present the diversity of Francophone cultures, this book fills a particular niche. Demonstrative of the need that Francophone Cultures through Film addresses, there are limited options for textbooks that survey a variety of Francophone cultures and simultaneously focus on film as a medium as this textbook does. Though not geographically comprehensive, it presents a wide variety of contexts (North and Sub-Saharan Africa, the Caribbean, Southeast Asia, Québec, and Europe) through films from 1965 to 2009. The approach taken is engaging and content-based, guiding intermediate and upper-level students toward both visual and cultural literacy by inviting them to analyze films through a focus on conversation, reading, and writing activities. The authors provide additional pedagogical suggestions, such as having students write film reviews for each unit and keep an ongoing film journal in order to foster both reflection and critical analysis. The thematic organization of this textbook (colonialism, independence, cultural diversity, immigration and exile, women’s issues) allows for its use as a primary or supplemental text in a variety of courses. Further, for instructors focusing on a particular theme or time period, individual sections can be purchased for course packets. The book begins with cinematic vocabulary, a list of important film festivals and awards, and a list of relevant acronyms. Each unit has preand post-viewing activities, a glossary of important terms used in each film, a country information summary page, short biographies of directors and main actors, an interview or other related text, and a suggested bibliography. Individuals incorporating films into literature-focused courses will find these interviews and suggested literary pairings particularly useful. However, for instructors wishing to include grammatical revision or translation in their courses, this textbook will need to be supplemented with other materials. Issues of access to films may remain an issue, but this has been mitigated by the authors who have selected films that are popular in the United States. Further, the authors and publisher provide information regarding where such films may be purchased or rented by students and instructors and offer the suggestion of organizing a film festival alongside the course in which the textbook is to be used. Outside of courses, this text may prove to be a valuable resource for those organizing film nights for French clubs or French and Francophone film festivals. The potential cost issues for students renting or purchasing films is also mitigated by the affordability of the textbook itself. University of South Dakota Kris Aric Knisely Oukada, Larbi, Didier Bertrand, and Janet Solberg. Controverses. 3rd ed. Boston: Cengage, 2016. ISBN 13 978-1-305-10578-2. Pp. 293. $150. Designed for students at the intermediate level, this eight-chapter text presents a variety of exercises that help students develop more sophisticated levels of oral and written expression. The materials available include a text (manuel), a Student Activities Manual (cahier d’activités), and online supersite. The bulk of grammar review is contained in the Student Activities Manual; most of the text is organized around contemporary and controversial topics such as globalization, immigration, and gender equality. The chapters are designed to encourage students to examine these topics from various points of view as they acquire the skills necessary to discuss and write about each topic.An interesting and unique aspect to Controverses is...
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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) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.029 | 0.010 |
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".