Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Part expressionistic city symphony film, part mischievous autobiographical reminisce, Guy Maddin's My Winnipeg (2007) served as something of a culmination of much of his work this decade. Like the mock memoir Cowards Bend the Knee (2003) and the teen detective Guignol sex-romp Brand Upon the Brain! (2006), My Winnipeg continued Maddin's turn inside, towards a pointed mythologizing of the self. Maddin's portrait of his heavily psychologised relationship to his Manitoba hometown brought him a torrent of critical acclaim--awards at the TIFF appearances on year-end best of lists, etc.--making it his most commercially viable film since 2003's The Saddest Music in the World. [ILLUSTRATION OMITTED] Further expanding the My Winnipeg brand is a recent companion book released this May by Coach House Books. Including essays by those involved with the film, an annotated screenplay, slews of stills, collages and others images culled by Maddin and, standing as its centrepiece, a lengthy conversation between Maddin and CanLit juggernaut Michael Ondaatje, the My Winnipeg book further expands (and exhausts) the relationship between Maddin and Winnipeg. I sat down with Guy recently to chat about the book, the enduring popularity of his films, and what's left now for him now that his own nostalgic impulses have reached the point of fatigue. [ILLUSTRATION OMITTED] JS: How did the My Winnipeg book come about? I know you have a previous relationship with Coach House Books. Did they approach you about it? GM: It came about in a weird way. When the movie was being released a year ago, one of the promotion ideas--see Canadians have no idea how to sell their films and there's no way Canadians will watch them anyways--but there was talk of making a little limited edition scrapbook of Winnipeg. It was going to be out together by Andy Smetanka who did the titles and all the animation. The distributor was going to pay him $500, some really puny fee to put together basically a handmade work of art. And then they never paid him money and he started, but they never followed up on it. And everybody who was involved with the idea moved onto other companies. It's so typical of film industry crap. It was Andy himself who approached Coach House Books with the idea. He's so keen all the time. [ILLUSTRATION OMITTED] JS: Well there's his piece in the book where he talks about essentially tracking you down and winding up working with you. GM: He's a keen one. And I love his enthusiasm. I love surrounding myself with enthusiastic people because my own enthusiasm is so fragile and I'm always on the verge of going back to bed. So Andy arranged in absentia a meeting among Alana Wilcox at Coach House who ended up editing and designing the book, Jody Shapiro, my producer, and me. My experience with the first book Coach House put out [From the Atelier Tovar: Selected Writings of Guy Maddin] was so easy. I basically handed them my diaries and someone edited them. I could have been dead and it wouldn't have been any more difficult. So I blithely agreed, forgetting that unlike my diaries, nothing had been written yet. JS: So you just had to amend the annotations to the script? GM: I had to come up with those, yeah. But it was just a matter until three months had passed after the deadline and have my editor lose my temper with me. I remember I was in Rotterdam. Luckily I was in Europe because whenever I fly there, I can't sleep. I get jetlagged. And Alana demanded to see some of the annotations that I claimed to have been writing for many months. So I just started writing some and sending her a few at a time, but then I became so wide awake that I just kept writing and writing and writing. JS: And from that point, how long did it take to complete? GM: Three days. [laughs] Three days of really bad prose. Then it was a matter of submitting these very delirious annotations. …
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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 | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.005 | 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 it