{ "vercy": "1.0-draft", "publication": { "status": "research-draft", "adjudicationStatus": "unreviewed", "publishableCanonical": false, "generatedAt": "2026-09-12T08:41:41Z", "providers": [ "Codex" ], "breadth": "recalled by Codex without web access - no source was read", "missingProviders": [], "pass": 2, "cost": { "grok": { "seconds": 21.6, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a094c6-64f3-7940-b1c5-5efc964760ae\n--------\nuser\nDescribe what is already known about one registered thing. Answer as JSON only, no prose around it.\n\nThing: cinema of Portugal\nSense to describe: (none recorded)\nDomain code: INF.MED\nAlso known as: (none)\n\n\nContext for this batch of 1001 things:\n# Batch 043: 1", "usd": 0.0, "recall": true }, "codex": { "seconds": 76.4, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a094c6-64f8-7850-a586-37385593fdb8\n--------\nuser\nYou are drafting a Vercy meta-model for one registered thing. Answer as JSON only, no prose around it.\n\nThing: cinema of Portugal\nRegistry id: vr.tr.cinema-of-portugal\nPlane / domain: INF / INF.MED\nRegistry definition: (none recorded)\nNames folded into this en" } }, "enrichment": { "pass": 3, "engine": "claude", "producedAt": "2026-10-06T12:00:00Z", "ingestedAt": "2026-10-06T08:40:32+00:00", "fields": [ "agent_conduct", "ethics", "owners" ] }, "gate": { "passed": true, "version": "1.0", "at": "2026-10-07T10:10:28+00:00", "evidence": [ "completeness 1.00", "sense: Wikidata description", "2 live sources", "review by codex: pass" ] } }, "metaModel": { "id": "THING-Q2067802", "registryId": "vr.tr.cinema-of-portugal", "name": "cinema of Portugal", "version": "0.1.0-research.1", "entryKind": "thing", "family": "Thing Registry", "domain": [ "INF.MED" ], "status": "research-draft" }, "canonicalUrl": "https://ver.cy/models/thing/q2067802/", "model": { "registry_id": "vr.tr.cinema-of-portugal", "name": "cinema of Portugal", "purpose": "Enable an AI agent to recognise, assess and responsibly work with cinema of Portugal as a historically situated film corpus and cultural field.", "definition": "Cinema of Portugal is the body of films and filmmaking practices historically associated with Portugal, including its production institutions, artistic traditions and transnational collaborations.", "scope_statement": "This model owns the criteria, relationships and evidence used to describe cinema of Portugal at the collective level, linking films, practitioners, institutions and audiences without replacing their individual models.", "in_scope": [ "Criteria for associating films and filmmaking activity with Portugal", "Historical periods, movements and contested interpretations of Portuguese cinema", "Relationships among production, funding, creative practice and professional capacity", "Domestic and international circulation, exhibition and reception", "Preservation, discoverability and conditions for accessing the cinematic record" ], "out_of_scope": [ "Complete descriptions of individual films, versions, releases and physical or digital copies", "Biographies and nationality records of individual practitioners", "Operational models of studios, festivals, archives and funding organisations", "Portuguese-language cinema worldwide treated as an interchangeable national corpus", "Television, advertising, games and online audiovisual media except where their relationship to cinema is explicitly established", "General Portuguese history beyond its evidenced relationship to filmmaking and film reception" ], "distinguishing_features": [ "A film's association with Portugal must have an explicit basis; Portuguese dialogue or a Portuguese filming location alone does not settle inclusion.", "The entry describes a collective cinematic field across works and institutions, rather than one film, genre, screening venue or distribution market.", "Portuguese cinema and cinema exhibited in Portugal overlap but differ: imported films belong to the exhibition context without automatically belonging to the national corpus.", "Films connected to former Portuguese colonies require historically situated attribution rather than automatic assignment through language or former imperial administration.", "Legal nationality, production origin and cultural identification can yield different memberships, which must remain distinguishable." ], "characteristics": [ { "name": "Corpus inclusion basis", "kind": "category", "unit_or_values": "Legal recognition; production participation; creative affiliation; cultural attribution; archival classification; disputed or unresolved", "why_it_matters": "Makes national-cinema membership explainable without reducing it to language, birthplace or shooting location." }, { "name": "Temporal coverage", "kind": "measurement", "unit_or_values": "Start and end years, with date basis and known gaps", "why_it_matters": "Prevents evidence from one period from being presented as representative of the whole field." }, { "name": "Geographic relationship", "kind": "relation", "unit_or_values": "Links to production locations, represented places, exhibition territories and archival custodians, each with a relationship type", "why_it_matters": "Separates where a film was made, what it depicts, where it circulated and where it survives." }, { "name": "Historical or movement attribution", "kind": "relation", "unit_or_values": "Named period or movement, attributing source, applicable works and contested boundaries", "why_it_matters": "Allows periodisation and movement labels to be used without treating critical interpretations as universal classifications." }, { "name": "Production and support profile", "kind": "category", "unit_or_values": "Domestic production; international co-production; public support; private finance; mixed or unknown, qualified by period", "why_it_matters": "Connects the corpus to the conditions under which films can be made." }, { "name": "Domestic exhibition presence", "kind": "measurement", "unit_or_values": "Admissions, screenings or revenue share as a percentage, with year, territory, corpus rule and denominator", "why_it_matters": "Supports assessment of domestic reach without confusing film counts, ticket sales and revenue." }, { "name": "Preservation evidence coverage", "kind": "state", "unit_or_values": "Documented; partially documented; unknown, with separate evidence for survival, restoration and access", "why_it_matters": "Prevents unavailable or poorly catalogued works from being mistaken for nonexistent works." }, { "name": "Access and reuse conditions", "kind": "relation", "unit_or_values": "Links to custodians, access routes and version-specific rights evidence; cleared, restricted or unresolved for a stated action", "why_it_matters": "Distinguishes the ability to discover or view a film from permission to screen, copy or reuse it." } ], "affordances": [ "Explain why a film or body of work is included in, excluded from or disputed within cinema of Portugal.", "Construct evidence-backed selections by period, production relationship, form or circulation history.", "Compare production and audience indicators across periods while checking that counting rules match.", "Identify underrepresented regions, practices and historical perspectives in a proposed corpus.", "Locate viewing, research or screening routes and identify permissions still required.", "Flag gaps in attribution, historical interpretation, preservation evidence and catalogue coverage." ], "agent_conduct": { "may": [ "Describe Portuguese cinema, its directors, films and institutions, citing film archives.", "Recommend films and point to legal ways to watch them." ], "must_not": [ "Distribute or link to pirated copies of films.", "Attribute films, quotes or awards to the wrong people.", "Present the cinema of one period, such as the Estado Novo era, without its political context.", "Overlook the contributions of filmmakers from former colonies and the diaspora." ], "requires_human": [ "Restoring, recutting or altering archival films." ] }, "ethics": { "considerations": [ "Film heritage is fragile; misuse of archives can lose it.", "Filmmakers depend on rights and credit for their living." ], "affected_parties": [ "Filmmakers and crews", "Audiences", "Rights holders" ] }, "owners": { "steward": "Nobody owns a national cinema; film archives and rights holders hold the works.", "master_systems": [ "National film archive catalogues" ] }, "what_it_is_for": [ "Cinema of Portugal is studied in film history, cultural research, archives and education.", "It provides a framework for curating and interpreting films through their production context, creative practices and connections with Portugal.", "Cross-border productions require explicit criteria for inclusion because language, financing and creative participation may point to different national associations." ], "standards_and_regulation": [ "Portugal's Code of Copyright and Related Rights, enacted by the Portuguese state through Decree-Law 63/85, governs copyright and related rights affecting films.", "EN 15907, issued by the European Committee for Standardization, provides a metadata framework for describing cinematographic works and their relationships." ], "failure_modes_and_hazards": [ "Unlicensed reproduction or exhibition can infringe rights and expose institutions to disputes.", "Treating the corpus as culturally uniform can erase regional, colonial and transnational perspectives.", "Incorrect attribution or incomplete provenance can distort film histories and catalogue records." ], "facets_not_applicable": { "recognition": "A national cinema is an abstract cultural grouping whose membership cannot be established from visual appearance alone." } }, "sources": [ { "id": "wikidata", "title": "Wikidata item Q2067802: cinema of Portugal", "url": "https://www.wikidata.org/wiki/Q2067802", "url_status": "live", "what_it_supports": "identity and sense of the item", "checked_by": "wikidata-api" }, { "id": "wikipedia-en", "title": "Wikipedia: Cinema of Portugal", "url": "https://en.wikipedia.org/wiki/Cinema_of_Portugal", "url_status": "live", "what_it_supports": "general description of the item", "checked_by": "wikidata-api sitelink" } ], "structure": { "bundles": [ { "id": "portuguese-cinema-membership", "name": "Portuguese Cinema Membership", "description": "Defines how works and activities become associated with cinema of Portugal.", "rationale": "National attribution is the central boundary problem, especially for co-productions and cinema sharing the Portuguese language.", "layers": [ { "id": "national-attribution", "name": "National Attribution", "description": "Separates formal production nationality from cultural and critical association.", "findings": [ { "id": "evidenced-portuguese-affiliation", "name": "Evidenced Portuguese Affiliation", "description": "Record the grounds and authority for inclusion, allowing different classifications to coexist.", "questions": [ { "text": "Which production, legal or cultural criteria support associating this work with cinema of Portugal?", "kind": "definition", "id": "evidenced-portuguese-affiliation-q01" }, { "text": "Which authority or scholarly source applies those criteria, and for what period?", "kind": "provenance", "id": "evidenced-portuguese-affiliation-q02" }, { "text": "How should a co-production be represented when Portuguese and partner-country classifications differ?", "kind": "boundary", "id": "evidenced-portuguese-affiliation-q03" } ] } ] }, { "id": "lusophone-and-imperial-boundaries", "name": "Lusophone and Imperial Boundaries", "description": "Handles relationships with other Portuguese-language cinemas and historically changing territories.", "findings": [ { "id": "nonexclusive-historical-attribution", "name": "Nonexclusive Historical Attribution", "description": "Keep language, colonial administration, production control and later cultural identification as separate attribution evidence.", "questions": [ { "text": "When does a Portuguese-language film belong to another national cinema, to cinema of Portugal, or to both?", "kind": "boundary", "id": "nonexclusive-historical-attribution-q01" }, { "text": "Whose classification is being used for films produced in colonial contexts, and are alternative local or postcolonial classifications recorded?", "kind": "provenance", "id": "nonexclusive-historical-attribution-q02" } ] } ] } ] }, { "id": "historical-and-critical-context", "name": "Historical and Critical Context", "description": "Organises historical interpretation without turning one account of Portuguese cinema into a fixed canon.", "rationale": "Political change, critical movements and retrospective selection shape what the field is understood to contain.", "layers": [ { "id": "periodisation-and-political-change", "name": "Periodisation and Political Change", "description": "Relates historical boundaries to evidenced changes in filmmaking and circulation.", "findings": [ { "id": "historical-breaks-and-continuities", "name": "Historical Breaks and Continuities", "description": "Treat proposed period boundaries as claims requiring evidence of change and continuity.", "questions": [ { "text": "Which sources justify period boundaries around the Estado Novo and the revolution of 25 April 1974?", "kind": "provenance", "id": "historical-breaks-and-continuities-q01" }, { "text": "Which changes in censorship, production, film form or exhibition support those boundaries, and which practices continued across them?", "kind": "definition", "id": "historical-breaks-and-continuities-q02" } ] } ] }, { "id": "movements-and-canon", "name": "Movements and Canon", "description": "Records movement labels and the selection processes behind recognised histories.", "findings": [ { "id": "cinema-novo-and-canonical-selection", "name": "Cinema Novo and Canonical Selection", "description": "Require attributed definitions for Portuguese Cinema Novo and other critical groupings, alongside evidence of omissions.", "questions": [ { "text": "How do the consulted sources define Portuguese Cinema Novo and distinguish it from similarly named movements elsewhere?", "kind": "definition", "id": "cinema-novo-and-canonical-selection-q01" }, { "text": "Which popular, documentary, animated, experimental, regional or amateur practices fall outside the selected account?", "kind": "boundary", "id": "cinema-novo-and-canonical-selection-q02" }, { "text": "How should an agent broaden a retrospective when its starting sources privilege a small set of celebrated directors?", "kind": "action", "id": "cinema-novo-and-canonical-selection-q03" } ] } ] } ] }, { "id": "production-and-creative-capacity", "name": "Production and Creative Capacity", "description": "Connects Portuguese filmmaking to finance, collaboration and the capacity to sustain production.", "rationale": "A national cinematic field includes the conditions enabling works to be made, beyond the works already visible in catalogues.", "layers": [ { "id": "support-and-coproduction", "name": "Support and Co-production", "description": "Tracks how Portuguese participation and support relate to completed production.", "findings": [ { "id": "funding-to-production-evidence", "name": "Funding-to-Production Evidence", "description": "Distinguish support decisions, production participation, completion and release.", "questions": [ { "text": "Which Portuguese support bodies or co-production arrangements apply to the period under study, and what records establish their involvement?", "kind": "provenance", "id": "funding-to-production-evidence-q01" }, { "text": "Are annual production totals counting supported projects, completed films, certified films or released films?", "kind": "measurement", "id": "funding-to-production-evidence-q02" } ] } ] }, { "id": "practitioners-and-production-geography", "name": "Practitioners and Production Geography", "description": "Maps sustained creative participation and production activity without assuming nationality from personal identity.", "findings": [ { "id": "participation-and-regional-capacity", "name": "Participation and Regional Capacity", "description": "Record roles, collaborations and activity across mainland Portugal, the Azores and Madeira where evidence supports them.", "questions": [ { "text": "What evidence distinguishes sustained participation in Portuguese filmmaking from a single visiting production or filming location?", "kind": "boundary", "id": "participation-and-regional-capacity-q01" }, { "text": "What comparable indicators reveal production capacity across Portuguese regions without equating shooting days with locally controlled production?", "kind": "measurement", "id": "participation-and-regional-capacity-q02" } ] } ] } ] }, { "id": "circulation-and-reception", "name": "Circulation and Reception", "description": "Describes how Portuguese films reach audiences and acquire different kinds of recognition.", "rationale": "Domestic attendance, festival visibility and international availability answer different questions about the field's state.", "layers": [ { "id": "domestic-exhibition", "name": "Domestic Exhibition", "description": "Assesses access to Portuguese films within Portugal across identifiable exhibition channels.", "findings": [ { "id": "domestic-reach-and-comparability", "name": "Domestic Reach and Comparability", "description": "Qualify audience indicators by channel, geography and the definition of a Portuguese film.", "questions": [ { "text": "What share of admissions or screenings belongs to the defined Portuguese corpus in the stated year?", "kind": "measurement", "id": "domestic-reach-and-comparability-q01" }, { "text": "Do the available records include commercial cinemas, film societies, festivals and online viewing, or only some of these channels?", "kind": "boundary", "id": "domestic-reach-and-comparability-q02" } ] } ] }, { "id": "international-circulation", "name": "International Circulation", "description": "Distinguishes international recognition from practical audience access.", "findings": [ { "id": "recognition-versus-availability", "name": "Recognition and Availability", "description": "Record festival selection, awards, critical reception and territorial distribution as distinct relationships.", "questions": [ { "text": "Which records establish international festival participation or distribution for the selected Portuguese films?", "kind": "provenance", "id": "recognition-versus-availability-q01" }, { "text": "Where can an audience actually access these films, in which versions and with which subtitle or dubbing options?", "kind": "action", "id": "recognition-versus-availability-q02" } ] } ] } ] }, { "id": "cinematic-record-and-access", "name": "Cinematic Record and Access", "description": "Connects the collective history to surviving evidence, custodians and permitted uses.", "rationale": "What survives and can be accessed conditions both research conclusions and an agent's practical actions.", "layers": [ { "id": "survival-and-catalogue-evidence", "name": "Survival and Catalogue Evidence", "description": "Tracks the evidential limits of catalogues and preservation records.", "findings": [ { "id": "survival-is-not-discoverability", "name": "Survival and Discoverability", "description": "Link to work, version and holdings records while preserving distinctions between uncatalogued, unavailable, incomplete and confirmed lost.", "questions": [ { "text": "What do records from Cinemateca Portuguesa and other identified custodians establish about surviving versions and materials?", "kind": "provenance", "id": "survival-is-not-discoverability-q01" }, { "text": "Does a claimed gap indicate confirmed loss, incomplete holdings, missing catalogue coverage or unavailable access?", "kind": "boundary", "id": "survival-is-not-discoverability-q02" } ] } ] }, { "id": "research-screening-and-reuse", "name": "Research, Screening and Reuse", "description": "Translates discovery into a permitted action for a particular film version and use.", "findings": [ { "id": "action-specific-access-evidence", "name": "Action-Specific Access Evidence", "description": "Require evidence appropriate to consultation, public screening, copying or reuse rather than inferring permission from archival custody.", "questions": [ { "text": "Which custodian, distributor or rights representative can establish the access and permission requirements for the intended use?", "kind": "action", "id": "action-specific-access-evidence-q01" }, { "text": "Which version, territory, date and mode of use does the available permission evidence cover?", "kind": "boundary", "id": "action-specific-access-evidence-q02" } ] } ] } ] }, { "id": "evidence-and-external-alignment", "name": "Evidence and external alignment", "description": "What the world already says about this thing, gathered so the model can be checked against it.", "rationale": "A model that cannot be lined up against existing standards, identifiers and practice cannot be adopted by anyone who already uses them.", "layers": [ { "id": "reported-evidence", "name": "Reported evidence", "description": "Findings from the breadth pass, kept separate from the structural claims.", "findings": [ { "id": "evidence-confidence-notes", "name": "Check these first", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "National attribution should distinguish production country, financing, creative participation, language and setting, especially for co-productions.", "The identifier and metadata standards apply to individual films and their descriptions, not to the national cinema as a single work.", "This is recall rather than source-verified research; current legislation, funding arrangements and industry statistics are omitted." ], "questions": [ { "id": "evidence-confidence-notes-q01", "text": "Which of these check these first hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-kinds", "name": "Kinds and varieties", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Fiction feature films", "Documentary cinema", "Animated films", "Short films", "Experimental cinema" ], "questions": [ { "id": "evidence-kinds-q01", "text": "Which of these kinds and varieties hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-identifiers", "name": "Identifiers and schemes", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ { "scheme": "International Standard Audiovisual Number (ISAN)", "value_or_pattern": "An audiovisual work identifier with an optional version identifier", "note": "Identifies individual registered audiovisual works or versions, not Portuguese cinema as a whole." } ], "questions": [ { "id": "evidence-identifiers-q01", "text": "Which of these identifiers and schemes hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-standards-and-regulation", "name": "Standards and regulation", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "ISO 15706, issued by the International Organization for Standardization, specifies the International Standard Audiovisual Number.", "EN 15907, issued by the European Committee for Standardization, specifies metadata for identifying cinematographic works and their versions and manifestations." ], "questions": [ { "id": "evidence-standards-and-regulation-q01", "text": "Which of these standards and regulation hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-real-world-use", "name": "Real-world use", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Production and circulation of films for theatrical, broadcast and online audiences.", "Preservation and exhibition of film heritage through institutions such as Cinemateca Portuguesa-Museu do Cinema.", "Study of Portuguese cultural history, aesthetics and national identity.", "International festival programming and cultural exchange.", "Documentary representation and examination of Portuguese social life." ], "questions": [ { "id": "evidence-real-world-use-q01", "text": "Which of these real-world use hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-failure-modes-and-hazards", "name": "Failure modes and hazards", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Equating Portuguese cinema with all Portuguese-language films, thereby absorbing distinct national cinemas.", "Assigning a single nationality to international co-productions without recording the classification criteria.", "Conflating a film work with a particular cut, restoration, digital file or physical print.", "Treating a small selection of internationally recognized directors as representative of the entire national cinema.", "Loss or deterioration of film elements and inadequate preservation of digital materials." ], "questions": [ { "id": "evidence-failure-modes-and-hazards-q01", "text": "Which of these failure modes and hazards hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-regional-variation", "name": "Regional variation", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Films connected with mainland Portugal, the Azores and Madeira may represent different regional settings and experiences within Portuguese cinema.", "Collaborations with Brazil and Portuguese-speaking African countries cross national boundaries and require explicit attribution." ], "questions": [ { "id": "evidence-regional-variation-q01", "text": "Which of these regional variation hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-neighbours", "name": "Neighbouring kinds and how to tell them apart", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ { "name": "Portuguese-language cinema", "difference": "Groups films by language; cinema of Portugal is associated with a country and need not consist exclusively of Portuguese-language works." }, { "name": "Cinema of Brazil", "difference": "Has a distinct national production history and institutional setting, despite a shared language and some co-productions." }, { "name": "Films set in Portugal", "difference": "Setting alone does not establish a film's membership in Portuguese cinema." }, { "name": "Portuguese television", "difference": "Includes broadcast forms such as series and programmes; its boundary with cinema can overlap through financing, production and distribution." }, { "name": "Portuguese Cinema Novo", "difference": "Names a particular historical movement within Portuguese cinema rather than the entire national tradition." } ], "questions": [ { "id": "evidence-neighbours-q01", "text": "Which of these neighbouring kinds and how to tell them apart hold for the sense of cinema of Portugal this model covers, and on what evidence?", "kind": "provenance" } ] } ] } ] } ] }, "openQuestions": [ "Which existing Vercy model, if any, already owns this concept, and what authoritative Portuguese sources should anchor its corpus criteria?", "How should legal nationality, minority co-production, diaspora participation and cultural attribution interact when they produce different memberships?", "Which historical accounts adequately represent colonial and postcolonial relationships without absorbing other national cinemas into Portugal's?", "How complete and comparable are available production, exhibition and audience records across periods, regions and film forms?", "Which preservation and access gaps reflect confirmed loss, restricted materials or incomplete discovery, and how strongly do those gaps distort the apparent canon?" ], "statistics": { "bundles": 6, "layers": 11, "findings": 18, "questions": 30 } }