Entrevistas Tesis Antonio Peláez Barceló - Vídeo y Audio
Bibliographic record
Abstract
Interviews have been present since the origin of this doctoral thesis. From two interviews with Cameron Bailey, artistic director of the Toronto Festival, and one with programmer Diana Sanchez, the idea of the importance of cultural diversity and even, within this, of linguistic diversity arose. Therefore, to this quantitative analysis, we have added a qualitative study with interviews to specialists so that the final methodology can be defined as mixed explanatory244. The transcripts of the interviews, as well as links to their recordings in video or audio format, are also available in the repository. In total we have interviewed fifteen people, who are: 1. Cameron Bailey. June 7, 2018, Cannes. Video. In person. Cameron Bailey.September 15, 2019. Toronto. Video. In person. Current CEO of TIFF, artistic director at time of interview. 2. Diana Sanchez. September 18, 2018. Toronto. Video. In person. TIFF programmer at the time of interview. 3. Luis Gasca. January 17, 2020. Spanish. Audio. Former director of the San Sebastian Festival in 1977, as well as between 1981 and 1983. 4. Enrique González Kuhn. February 2, 2020. Spanish. Madrid. Video. In person. Distributor, CEO of Caramel Films. 5. Ania Jones and Lara Pérez Camiña. May 11, 2020. Zoom. Spanish. Video. Distributors and production companies, partners of B Team. 6. David Sequera. May 22, 2020. Zoom. Spanish. Video. Journalist for the film industry publication Audiovisual 451. 7. Roberto Cueto. June 2, 2020. Zoom. Spanish. Video. Programmer of the San Sebastian Festival and university professor at the Carlos III University. 8. José Luis Rebordinos. June 11, 2020. Zoom. Spanish. Video. Director of the San Sebastian Festival. 9. Florence Guirot. October 31, 2020. French. E-mail. Festival director at FIAPF from 2017 to 2022. 10. Kay Armatage. November 1, 2021. English. Audio. By phone. Former TIFF programmer and professor at the University of Toronto. 11. Liz Czach. November 8, 2021. English. Audio. In-person. Former TIFF programmer and professor at the University of Alberta. 12. Barry Hertz. November 25, 2021. English. Audio. By phone. Culture editor-in- chief and film critic for The Globe and Mail. 13. Piers Handling. February 2022. Zoom. English. Video. Former director (1994- 2018) and former programmer (1982-1994) of TIFF. blob:https://figshare.com/1eca9dbe-f790-4a09-8e67-8c3e237d4d85 244 CRESWELL, J.W., 2015. A concise introduction to mixed methods research. Los Angeles: SAGE. 14. Eduardo Rodríguez Marchante. February 18, 2022. Spanish. Audio. By telephone. ABC journalist, film critic and festival correspondent. 15. Clarisse Fabre. March 23, 2022. French. Audio. By telephone. A journalist for Le Monde,she has covered social policy and is currently a film critic and festival correspondent. In addition, we have also included statements by journalist and former TIFF programmer Jesse Wente about this festival, collected at the end of a journalistic interview on Canadian indigenous cinema. The repository also includes a link to the recording and transcript of theinterview, which was conducted via Zoom on December 6, 2022. The interview with Luis Gasca includes only some of the planned questions, as a later interview was postponed due to the pandemic and finally could not be conducted due to his death on July 6, 2021. We have contacted the press department of the Cannes Film Festival on several occasions, as well as its general delegate Thierry Frémaux, but they have declined requests for interviews with programmers or other people from the festival. All interviewees have given their consent to publish their statements. Although the interviews with Cameron Bailey and Diana Sanchez are journalistic in nature,they contain the answers to the questionnaires we prepared jointly for all the interviewees. In each interview there are specific questions for each person, but the common questionnaires, according to the functions of each one, are the following:
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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 | 0.007 | 0.014 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.005 | 0.003 |
| Scholarly communication | 0.007 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.060 | 0.015 |
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".