Bibliographic record
Abstract
Distributed by Good DocsProduced by Anne Koizumi and Sahar YousefiDirected by Anne Koizumi2020, Streaming, 8 mins Anne Koizumi’s In the Shadow of the Pines is a moving and visually inventive short documentary film that explores immigrant identity, social-class, and family through Koizumi’s memories, childhood photographs, and her father’s history. Using a distinct blend of stop-motion animation, short film splices, and her family’s photographs, Koizumi reflects on her childhood shame around her Japanese immigrant father’s work as her school’s janitor. In the Shadow of the Pines is a timely film, as it highlights immigrant work, amid ongoing conversations in the U.S. about immigrant labor and the dignity of working-class lives. Koizumi offers a sensitive and thoughtful viewpoint. The film’s only drawback is its short running time at only 8 minutes. Koizumi offers a sweet glimpse into her relationship with her father foraging mushrooms; and her standoffishness with him in school, but the story could have benefitted by offering a more detailed look into their life together at home to give it more emotional depth. This film is recommended; its focus on class, labor, and family immigrant experiences would make it a good choice to watch in courses such as Cultural Foundations of Education, Asian American Studies, Family Studies, and Sociology. The film’s handmade, stop-motion style would also make it an interesting watch for film and media studies students studying animation or different documentary styles. Awards:Special Jury Mention, Hot Docs; NAD School Special Jury Prize, Montreal Stop-Motion Film Festival; Best Short Narrative and Best Canadian Short, Ottawa International Animation Festival; Best Canadian Film and Audience Award, GIRAF Animation Festival; Special Jury Mention New York International Children's Film Festival; Best Short Animation, San Francisco International Film Festival; Golden Sheaf Nominee, Yorkton Film Festival; Best Short Animation, Indie Street Film Festival; Best Short Documentary, Virginia Film Festival; Best Short Film, Vancouver Asian Film Festival; Honorable Mention, Hawaii International Film Festival
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.002 | 0.002 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.116 | 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".