Bibliographic record
Abstract
Baseball: The Tenth Inning. Produced and directed by Ken Burns and Lynn Novick. PBS, 2010.4 hrs. Frank Ardolino The original Emmy Award--winning, nine-part documentary Baseball, which was broadcast on PBS in 1994 during players' strike, was seen by more than 43 million viewers, making it most watched film in PBS history. (1) The series covered 1839 to 1992, and it was intended in some measure to provide an antidote to disenchantment with baseball following termination of 1994 season. Baseball may have broken down as result of mutual greed and power games of players and owners, but Burns unfolded glorious history of America's game to compensate for stoppage on field. After completing his magnum opus, Burns was determined not to deal with subject again, but when he saw resurgent popularity of game during ensuing sixteen years, he decided to chronicle what he calls baseball's new age. (2) But this golden age has an ignominious shadow over it, and The Tenth Inning both extols beauty of game on field and laments problems raised by some players' use of steroids and related performance-enhancing drugs. Burns prefaces two-part program with mantra that no matter what happens off field, it's still a great game. Even opening ad for Bank of America celebrates healing pastoral powers of baseball throughout years. However, Burns's consolatory motto contains a false dichotomy: drug use may have occurred off field, but its effect is felt on field. It's impossible to separate game into two distinct categories because they are inextricably connected. Barry Bonds looks great hitting home runs throughout documentary, and, on one hand, we are asked to celebrate his prowess, but, on other hand, our suspicion that his Ruthian blasts are fueled by drugs undercuts our admiration. To support positive theme, players are shown making a succession of superlative plays, and various ball fields are presented in all their green glory. Star players like Ichiro Suzuki, Greg Maddux, Tom Glavine, Omar Vizquel, and Pedro Martinez provide heroic images to thrill fans. Mixed inextricably with these memories, however, is specter of drug use by home run titans, Sosa, McG-wire, and Bonds. In particular, Burns uses Bonds as Frankenstein's monster, with whom game will have to deal when he stakes his claim in the bottom of tenth as greatest player ever. Burns establishes a dramatic pattern to his presentation by invariably following a positive aspect of game, exemplified, for example, by Cal Ripken's consecutive games record. Ripken's record is cited as means of restoring fan support after hateful 1994 strike, with a return to Bonds mythos of supreme talent and Faustian ambition. The effect on baseball of rise and fall of Barry Bonds constitutes principal focus of four-hour program. The nature and structure of Tenth Inning is based on a dual temporal perspective: past events being chronicled and present from which our act of retrospection takes place. Because subsequent revelations have influenced our perception of past events, we obviously enjoy a superior perspective, but at same time through Burns's expert direction we can see even more meanings in these events than mere passage of time would provide. He assembles a visual and vocal mixture of film highlights; photos; voiceover narration; music; and commentary by broadcasters, writers, players, managers, and fans to create a multi-leveled and connected look at events he considers most important. Burns's characteristic pattern consists of a remark by narrator Keith David about upcoming scene, followed by footage of event unfolding or a photo that illustrates point being made, which is succeeded by a comment from Bob Costas, Mike Barnicle, Howard Bryant, George Will, or Tom Boswell, among others, all of whom establish consistent personas in unfolding events. …
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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 | 0.000 | 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 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.182 | 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".