Bibliographic record
Abstract
Resume : L'histoire des etudes cinematographiques considerees en tant que discipline n'a recue que tout recemment l'attention des chercheurs. Dans un effort pour initier l'assemblage des histoires de cette discipline, cette table ronde regroupe des personnes qui furent importantes pour la fondation de programmes d'etudes au Quebec et en Ontario : Kay Armatage, Andre Gaudreault, John Locke, Peter Morris, and Maurice Yacowar. Les premiers developpements discutes incluent la cinephilie, les societes de film et les cinemas de repertoire, l'enseignement du cinema dans les departements comme ceux d'anglais, d'etudes feministes, de communication et de Beaux-Arts, les technologies comme le projecteur analytique et la video, le nationalisme ou l'internationalisme et les publications influentes. Roundtable hosted by Advanced Research Team on the History and Epistemology of Moving Images Studies (ARTHEMIS) and the Film Studies Association of Canada (FSAC), June 4th 2010, at Concordia University Participants: Kay Armatage (University of Toronto) Andre Gaudreault (Universite de Montreal) [Translation: Timothy Barnard] John Locke (Concordia University) Peter Morris (York University) Haidee Wasson (Concordia University) Maurice Yacowar (University of Calgary) Michael Zryd (York University) HAIDEE WASSON and MICHAEL ZRYD What do we know- and not know- about Canadian film studies? We know that, in general, film studies has always been in dialogue with other fields. Yet, mapping interdisciplinary links is complicated. In the context of the Canadian university, we can observe that the study of cinema happens in different departments (Cinema, English, Communications), across different faculties (Arts and Science, Humanities, Fine Arts) and with differing emphases (production, art, aesthetics, cultural studies, public policy) . To be sure, Canadian film studies has been inflected by debates about Canadian nationalism. The late 1960s and early 1970s, when film courses began to be taught and the first Canadian film programs founded, was a time when the Canadian centenary in 1967 was in full bloom and intense opposition to American imperialism was evident across a wide range of cultural and political activities. It's not surprising that Canadian film studies concentrated on, and celebrated, Canadian film. Indeed, at one extreme, Canadian film studies has been defined by the study of specifically Canadian film. This nationalism manifests in a tension palpable at past meetings of the FSAC: Is it a scholarly association for people who study Canadian film or a scholarly association for people who study film in Canada? Parallel tensions manifest at the level of scholarly training and disciplinary formation. Most faculty members working in Canada who received a doctoral degree in film studies, received this degree from somewhere outside of Canada (usually the US or the UK). For those trained in Canada, degrees have been granted by interdisciplinary programs like York's Social and Political Thought program or McGill's Art History and Communication program, to name two prominent examples. That is, we have either been trained internationally or interdisciplinarily - or both. Another observation to be made about Canadian film studies is the gulf between scholarship in English-Canada and Quebec, a linguistic, cultural but also methodological gulf stemming from different scholarly traditions. These tensions have not been prominent in published histories addressing the history of film studies in other national contexts. We do know that studying films at universities from the 1920s through the 1940s was characterized by many, but generally isolated, sites of educational activity. Films were screened for educational purposes in film societies, cine clubs, art museums, and women's organizations but also in University-based departments as diverse as psychology, geography, business, foreign language, and drama throughout the U. …
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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 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| 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".