Bibliographic record
Abstract
Introduction: An Unorthodox Journey 1 A celebrated child actress in Canadian television, Sarah Polley had already made a number of short films -Don't Think Twice (1999), The Best Day of My Life (1999), I Shout Love (2001), All I Want for Christmas (2002) and The Harp (2004), an episode from the television mini-series The Shields Stories -before she shot to fame as a director with her first feature, Away from Her (Canada/UK/USA, 2006), starring Julie Christie, Gordon Pinsent, and Michael Murphy.1 While the film earned its director considerable praise, it also provoked great wonder: how could an actress since childhood, now still only in her late twenties, manage to tackle the issue of old age and dementia, an unusually grave subject matter as it is, let alone for a first film, and prove herself so precociously accomplished and mature?Polley's 'star rebirth' behind the camera is indeed remarkable. 2 2 Her second feature, Take This Waltz (Canada/Sp/Jap, 2011), starring Michele Williams, Seth Rogan and Luke Kirby, met with less success, but her third, Stories We Tell (Can, 2012), was again hailed by critics for both its poignancy and craftsmanship, and earned numerous awards at home and abroad.An IndieWire review typified the chorus of praise, saying that the film "marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect".3 Beyond the eulogistic appraisal of her work, what is striking, however, is how different her three feature films seem at first sight, in terms of both subject-matter and genre.What could be the links between a staid drama about old age, a bitter-sweet romantic comedy about young hipsters, and an essay film documenting the director's own family?This article offers some insights into what unites Polley's feature films.As the director herself realised when completing her third film, there is a consistent thread running through the work.While the most obvious common features are thematic, the films also display an ongoing concern for Questions of Intimacy and Distance in Three Films by Sarah Polley
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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 | 0.002 | 0.013 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.042 | 0.012 |
| Scholarly communication | 0.014 | 0.005 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.005 | 0.012 |
| Insufficient payload (model declined to judge) | 0.006 | 0.001 |
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".