5 : : André Martin, Inventor of Animation Cinema: Prolegomena for a History of Terms
Bibliographic record
Abstract
In 2000, Bernard Clarens published the only work to date that collects even a small portion of André Martin's (1925-94) fundamental body of critical work.A third of the book (more than ninety pages) is dedicated to Norman McLaren and constitutes a veritable forgotten monograph.The entirety of the anthology, titled Pour lire entre les images (Reading between the images), such as it was conceived, also situates the intriguing and important place of animation cinema as an experience and an idea in the history of the twentieth century.1Before his death in 2006, Clarens entrusted me with the articles and documents that he had systematically collected in hopes of publishing other volumes.I have therefore recently come to possess an archive solely devoted to André Martin, which I have named the Fonds Bernard Clarens (Bernard Clarens Collection) and presented publicly at a conference in January 2011 at the University of Picardie.I supplemented the archive with my own collection, which I began prior to 1990 in support of my doctoral thesis offering a preliminary reading of Martin's comprehensive discursive production.And my collection was immediately enhanced, notably by the contribution of Pierre Hébert, an animator from Quebec as well as a true researcher in this case, who discovered important traces of the Canadian period of the French critic and researcher.2The place of Norman McLaren throughout Martin's writing can thus be grasped in its entirety.The Bernard Clarens Collection also brings to light another important director worthy of examination-not a distant contemporary like McLaren (temporally close, but spatially far from Martin) but a pioneer and fellow Frenchman: Emile Cohl (culturally similar, but temporally distant from the critic), who is better known by cinema historians today than he was during Martin's time.
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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 | 0.003 |
| 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 | 0.004 |
| Scholarly communication | 0.005 | 0.005 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.039 | 0.012 |
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".