Les publics de festivals de films identitaires à Montréal : participation, engagement et «communautés imaginées»
Bibliographic record
Abstract
Au sein des sociétés multiculturelles contemporaines, les festivals de films identitaires jouent un rôle essentiel dans la diffusion et la promotion des cinémas étrangers. Ils facilitent la découvrabilité des oeuvres cinématographiques et la représentativité des cultures minoritaires, y compris celles issues des diasporas. En raison de leur dimension spatio-temporelle et (trans)nationale, ces festivals sont parfois envisagés au prisme de la « communauté imaginée ». Cette notion, associée au nationalisme et au lien virtuel unissant des individus s’identifiant comme faisant partie d’un même groupe, qualifierait des institutions ayant une vocation double : permettre à des communautés diasporiques de se (re)connecter à leur patrie d’origine, et faire la promotion de réalités et de cultures minoritaires auprès de publics élargis. S’inscrivant dans le champ des Film Festival Studies et de la sociologie de la culture, mobilisant notamment les travaux concernant la participation et l’engagement culturels, incluant les environnements numériques, cette recherche pose les questions suivantes : quels types de relations les publics tissent-ils avec le dispositif du festival de films identitaires à Montréal ? De quelle manière et dans quelle mesure la notion de « communauté imaginée » se manifeste-t-elle, ou non, au sein de leurs expériences et perceptions ? En prenant comme cas d’étude le Festival international de cinéma Vues d’Afrique, le Festival international du Film Black de Montréal et le Festival Massimadi, trois festivals aux missions distinctes, mais partageant une forte dimension identitaire et extra culturelle en relation avec les identités noires, africaines, créoles et diasporiques, ce mémoire mobilise des entretiens semi-directifs pour produire une meilleure connaissance des publics de festivals. Nos résultats mettent en lumière chez certain.e.s participant.e.s un sentiment d’appartenance à une communauté ethnoculturelle ou festivalière, tout en suggérant un besoin d’élargissement de la notion de communauté imaginée. Les motivations à participer révèlent une ouverture notable aux autres cultures et une multiplicité de postures spectatorielles mettant en lumière la complexité et la diversité des pratiques et expériences. Ce travail éclaire l’importance des festivals de films identitaires en tant qu’espaces de dialogue, de représentation et de valorisation des diversités, contribuant aux discussions portant sur la participation et l’engagement culturels. Il souligne également les opportunités, telles que l’accès élargi, et les défis présentés par les modèles de festivals en ligne, comme ceux de recréer l’expérience collective et de susciter l’intérêt des publics fidélisés au modèle en présence. Within contemporary multicultural societies, identity film festivals play an essential role in disseminating and promoting foreign cinemas. They facilitate the discoverability of cinematic works and the representation of minority cultures, including those from diasporas. Due to their spatio-temporal and (trans)national dimensions, these festivals are sometimes considered through the lens of the "imagined community." This concept, associated with nationalism and the virtual bond uniting individuals who identify as part of the same group, characterizes institutions with a dual purpose: to allow diasporic communities to reconnect with their countries of origin, and to promote the realities and cultures of minorities to a broader audience. Situated within the field of Film Festival Studies and the sociology of culture, and mobilizing work on cultural participation and engagement, including in digital environments, this research poses the following questions: What types of relationships do audiences form with the identity film festival setup in Montreal? How and to what extent does the notion of "imagined community" manifest itself, or not, in their experiences and perceptions? Using the Festival international de cinéma Vues d’Afrique, the Festival international du Film Black de Montréal and the Festival Massimadi as case studies – all with distinct missions but sharing a strong identity and extracultural dimension related to Black, African, Creole, and diasporic identities – this thesis utilizes semi-structured interviews to gain a better understanding of festival audiences. Our results highlight among some participants a sense of belonging to an ethnocultural or festival community, while also suggesting a need to expand the notion of imagined community. Participants' motivations reveal a notable openness to other cultures and a multiplicity of spectator postures that illuminate the complexity and diversity of practices and experiences. This work underscores the importance of identity film festivals as spaces for dialogue, representation, and the valorization of diversities, contributing to discussions on cultural participation and engagement. It also highlights opportunities, such as expanded access, and challenges presented by online festival models, such as recreating the collective experience and engaging audiences loyal to the in-person model.
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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 | 0.007 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.011 | 0.008 |
| Scholarly communication | 0.011 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.019 | 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".