Bibliographic record
Abstract
Contents: Introduction Overture Arthur Knight, College of William & Mary & Pamela Robertson Wojcik, University of Notre Dame Popular vs. Serious Cinema and Popular Song: the Lost Tradition Rick Altman, University of Iowa Surreal Symphonies: L'Age d'or and the Discreet Charms of Classical Music Priscilla Barlow The Future's Not Ours to See: Song, Singer, Labryinth in Hitchcock's The Man Who Knew Too Much Murray Pomerance, Ryerson Polytechnic University You Think They Call Us Plastic Now...:The Monkees And Head Paul Raemaeker Singing Stars Real Men Don't Sing Ballads: The Radio Crooner in Hollywood, 1929-1933 Allison McCracken Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema Kelley Conway, University of Wisconsin-Madison The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema Neepa Majumdar Music as Ethnic Marker Music as Ethnic Marker in Film: The 'Jewish' Case Andrew Killick, Florida State University Sounding the American Heart: Cultural Politics, Country Music and Contemporary American Film Barbara Ching, University of Memphis Crossing Musical Borders: The Soundtrack for Touch of Evil Jill Leeper, Indiana University-Purdue University Documented/Documentary Asians: Gurinder Chadha's I'm British But ... and the Musical Mediation of Sonic and Visual Identities Nabeel Zuberi, University of Auckland African American Identities Class Swings: Music, Race and Social Mobility in Broken Strings Adam Knee Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County Krin Gabbard State University of New York, Stony Brook Case Study: Porgy and Bess It Ain't Necessarily So That It Ain't Necessarily So: African American Recordings of Porgy and Bess as Film and Cultural Criticism Arthur Knight, College of William & Mary 'Hollywood Has Taken On A New Color': The Yiddish Blackface of Samuel Goldwyn's Porgy and Bess Jonathan Gill, Columbia University Contemporary Compilations Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre Corey Creekmuir, University of Iowa Popular Songs and Comic Allusion in Contemporary Cinema Jeff Smith, Washington University, St Louis, Missouri Gender and Technology The Girl and the Phonograph,or the Vamp and the Machine Revisited Pamela Robertson Wojcik, University of Notre Dame
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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) | 0.511 | 0.062 |
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; both teacher heads agree on what is shown here.
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".