Bibliographic record
Abstract
CLOGHER city by composing his title cards in the poetic style of the King James Bible.A later example of this method appears in Nicholas Ray's King of Kings (released in 1961 and a remake in name only), which opens with a detailed yet highly embellished summary of Pompey's invasion of Jerusalem.While Ray stresses the historical context of Jesus, his work is a response to cold war American culture.He emphasizes Jesus' role as both a teacher and the «Messiah of peace», thus mirroring the choices faced by American society on the eve of the Cold War.While claiming historical authenticity, this style betrays itself, so to speak, by inevitably revealing the historical and cultural contexts in which the work emerges and the story is received.While an awareness of the past of any story always accompanies its interpretation, hermeneutics is never an exercise in historical reproduction.Interpretation does not ask us to situate ourselves in the past (which is impossible), but rather in relation to it.Pier Paolo Pasolini's The Gospel According to Saint Matthew, released in 1964, exemplifies this dynamic by situating the Jesus story not in a reconstructed first-century world but in the austere, poverty-stricken villages of southern Italy in the 1960s.An admirer of the Italian Neorealist movement, Pasolini uses on-location filming, stark black and white photography and amateur actors to retell not only Matthew's story but the two millennia of interpretation and representation that have accompanied both the Gospel text and, indeed, the wider Christian story.Pasolini constructs a narrative of analogy which highlights the intersections that occur through interpretation.The past mingles with the present and both intersect at various points.Hence, Pasolini can suggestively place his Jesus on the parapet of a temple that is clearly a medieval ruin and depict his scribes and Pharisees as aristocratic figures with mafiosi accents.An expansion of this dynamic occurs in Denys Arcand's 1988 film Jesus of Montreal, which tells the story of Jesus allegorically through the experiences of a group of actors staging a passion play in contemporary Montreal.While the play presents a historicized Jesus whose resurrection is a pious fraud, the multi-levelled story plays with notion of historicism and reveals its limitations and failures by focusing on the influence of the Gospel in the lives of those who encounter Daniel, the mysterious actor who plays Jesus.More recently, Mark Dornford May's 2006 film Son of Man transports the Jesus story into a contemporary African setting by re-contextualizing it in a fictional state called Judea 1 .We shall return to these three films at a later stage in this paper.-----1 L. Baugh («The African Face of Jesus in Film: Part Two: Mark-Dornford May's Son of Man», Gregorianum 92 [2011] 317-345) describes Son of Man as a «radical actualization or "re-contextualization" of the Gospel narrative».Further, it situates «the Gospel narrative in the contemporary African reality».Dornford-May's film represents a significant shift in the Jesus film genre, which, by and large, has portrayed Jesus as a European/American figure.
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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 | 0.001 | 0.001 |
| Science and technology studies | 0.007 | 0.015 |
| Scholarly communication | 0.007 | 0.005 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.008 | 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".