Bibliographic record
Abstract
the journal of film and video publishes the research of scholars from around the world. This issue highlights the global dimensions of film and media studies, featuring scholarship conducted in China, Iran, Canada, and Nigeria. Ting Luo's engaging article, “From Self-Promotion to Demystification: Self-Reflexivity and Realism in Chinese Cinema,” illustrates the multiple and varied applications of reflexivity in Chinese cinema, starting with clever 1920s behind-the-scenes film narratives that celebrate cinematic innovation. Turning to the rich history of Iranian cinema, “The Omnipresent Gaze: Exploring Surveillance in Amir Naderi's Goodbye Friend (1971)” by Javad Nematollahi and Alireza Sayyad illuminates and contextualizes key aspects of the Iranian New Wave through its deft analysis of the film's surveillance-oriented narrative and cinematic techniques. Reflecting perspectives articulated in ecocinema studies, Yining Zhou's article, “Wooded and Watery Landscapes: Evolving Hollywood Depictions of ‘the Wilderness’ and ‘the Frontier,’” examines representations of people and environments. The article redirects research on the Western by analyzing scenes with woods and rivers in films that complicate myths about the American settler-colonial venture. In “Automobility in Daniel Oriahi's Taxi Driver: Oko Ashewo (2015) and Rogba Arimoro's Tokunbo (2019),” Chikwurah Destiny Isiguzo effectively builds on studies of automobiles as symbols of freedom, modernity, and mobility in Nigerian film and literature to illuminate contemporary filmmakers’ innovative use of cars in two New Nollywood films: Taxi Driver: Oko Ashewo focuses on a cab driver, whose vehicle is known as “Tom Cruise,” to depict working-class life in Lagos; Tokunbo succinctly conveys the life experiences of a middle-class Nigerian couple simply through scenes set in their secondhand car.Issue 76.4 marks the completion of my second year as the editor of the Journal of Film and Video. I would like to thank all the contributors for sharing their work and express my sincere gratitude to book review editor Shane H. Weathers, the members of the journal's advisory and editorial boards, and Kate Kemball and everyone at the University of Illinois Press. I also want to convey special thanks to the University of Film and Video Association officers, board members, and general members, whose service and support make the journal possible.
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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 | 0.004 | 0.028 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.002 | 0.001 |
| Bibliometrics | 0.003 | 0.002 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.010 | 0.006 |
| Open science | 0.004 | 0.003 |
| Research integrity | 0.007 | 0.007 |
| Insufficient payload (model declined to judge) | 0.316 | 0.165 |
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".